Covered Traces

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Earlier this year, after seeing Exposed Painting Zinc Yellow by Callum Innes, I became preoccupied with the balance between adding and taking away when painting and what is left behind when paint is removed.  The concept of unpainting and the playful yet sophisticated interconnectedness between making and unmaking is a complex yet fascinating metaphor for memories and life stories. The critic Rachel Cooke describes the way in which Innes removes paint with turpentine in almost warlike terms, as a hard fought battle. What is clear when observing his painting is the residue of what once was is embodied within the canvas – a palpable memory.

“What you see is a painting that has it’s own intrinsic history but also has this physicality which has evolved over the years.”  Callum Innes

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