Proximity to the frame is the first fact here: a brown vertical occupies the far right margin, cropped by the picture's edge so that its full extent remains unknown. The colour is warm, almost resinous, applied with a pressure that thickens at the top before narrowing into a rounded terminus. One thinks of Hilma af Klint's strict chromatic boundary lines - those brown and ochre divisions that hold cosmological fields apart - set against the deliberate incompleteness of Song Dynasty ink painters who routinely allowed the silk's edge to sever a form, trusting the viewer to complete what convention forbids finishing. Boh's mark sits exactly between those two positions: bounded and yet unresolved, structural and yet cut short.
Proximity to the frame is the first fact here: a brown vertical occupies the far right margin, cropped by the picture's edge so that its full extent remains unknown. The colour is warm, almost resinous, applied with a pressure that thickens at the top before narrowing into a rounded terminus. One thinks of Hilma af Klint's strict chromatic boundary lines - those brown and ochre divisions that hold cosmological fields apart - set against the deliberate incompleteness of Song Dynasty ink painters who routinely allowed the silk's edge to sever a form, trusting the viewer to complete what convention forbids finishing. Boh's mark sits exactly between those two positions: bounded and yet unresolved, structural and yet cut short.
- Curatorial note, wifärt gallery