“Simplify” and “Subtraction” seem to be two words that pop-up regularly, especially in the fields of painting and sculpture. All the art work that I’m drawn to has this thread running throughout. Take the work of Barbara Hepworth or Henry Moore for example, then scoot across to the likes of Josef Albers and Donald Judd, these creatives break their idea down in to the smallest amount of parts possible, but still express some sort of meaning or concept.
Ironically, something simple on the eye is rarely ever simple to create. Like many of the great works that have come before they’ve pushed past the point of realism to achieve abstraction. I always say it “just is”, they’ve pursued and have achieved a final result where you stand back and think, “yeah, of course”. I’m usually hunting for this exact feeling in the younger up and coming artists, often being drawn to those art works with strong colours and a great use of space.
Australian creative Esther Stewart really blew my mind with her vibrant segmented paintings. Often mimicking the lines of architecture, alongside referencing maps and plans, she breaks down the canvas in to portions with block colours. In this particular series titled “Endless That’s the Problem”, which was exhibited at Utopian Slumps earlier in the year, she has incorporated new techniques such as marble effects to connect with both sculpture and grand interiors. These pieces that I present here today were also linked with a series of sculpture which offered a physical interpretation of these canvases in 3D form. To see more from this exhibition and series I recommend clicking through to the Utopian Slumps website alongside Esther Stewart’s portfolio on the link below.