What arrests the eye here is the structural rhyme between the upper register's trio of framed images - flower, sun, lightning - and the three cloaked figures below, each colour-coded as if in deliberate correspondence. The work shares ground with Matisse's late paper cuts in its insistence that flat, unmodulated colour carries full pictorial weight. The figures, absorbed in private contemplation, enact something close to what Michael Fried termed absorption: beings wholly given over to a world the viewer may only witness from outside.
What arrests the eye here is the structural rhyme between the upper register's trio of framed images - flower, sun, lightning - and the three cloaked figures below, each colour-coded as if in deliberate correspondence. The work shares ground with Matisse's late paper cuts in its insistence that flat, unmodulated colour carries full pictorial weight. The figures, absorbed in private contemplation, enact something close to what Michael Fried termed absorption: beings wholly given over to a world the viewer may only witness from outside.
- Curatorial note, wifärt gallery