In his book Human Space O. F. Bollnow writes about the ‘function of wandering’, and places an intrinsic value on the notion of losing one’s way.
Decisions made during the construction of paintings can sometimes lead to dead ends, yet even when the actions of making are obscured, an image can hold the trace, or memory of what has gone before. The connections between what we see and what is no longer there leaves a particular quality of resonance.
Wanderer’s Field presents the work of three abstract artists whose paintings are defined by the subtleties of what they leave in the surfaces of their canvases.
Prunella Clough (1919 – 1999) was described by Patrick Heron as one of the greatest ‘connoisseurs of the deliberately worn-away surface shape’, Trevor Sutton speaks of his painting as an effort to capture ‘frozen time’, while Dan Roach comments that his working method is a process characterised by reiteration, recurrence and a particular contemplation between gesture and form.
The exhibition counterpoints three of Clough’s later paintings with recent work by Sutton and Roach. Sutton’s paintings are taken from a body of images derived from the landscape of Ireland and Roach’s recent work extends investigations into more psychological terrains, following his artist’s residency at Worcester Cathedral in 2011.