The colours, whilst exuberant, don’t really merge, and so can seem quite brash upon the eye. The works are all effectively the same in pattern and colour, which is what makes their contrasts particularly absorbing in the observer’s visual study. The background to the works is always green, but in the more chaotic pieces this appears lost amid a more startling visual experience. The circulatory motions also reflect a particular angst and tension in their energy. What I enjoy most is the way that these chaotic human motions are offset by the consistent long drips of gravity. Similarly to the work of Frank Bowling, these reveal the constant sucking force of gravity and nature upon the human endeavour, in the dribble and drab of paint down canvas. These give birth to a fascinating dynamic in his work, that is actually quite separate from Bowling’s, where it was gravity alone on show.
Attached to this exhibition are a large series of Twombly’s photographs, taken in the fifties, as well as some from just prior to his death last year. The 66 photographs on show are worth seeing in themselves.
The grainy nature of many of the photographs seems important to the ultimate image they present. Whilst consciously revealing a more archaic and aged method of photography, it is something that is in itself, wholly artificial. It is strange to think that this effect on what are often very natural images, was never actually there. But yet it feels so organic. This makes me pause to wonder where the ‘beauty’ is actually found? Truly in the eyes (or camera) of the beholder it would indeed seem…
Find out more about the exhibition (On until the 29th Sept) here.
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