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Lot Essay
'Because it functions freely and objectively in terms of its own palpable form, an abstract work ultimately demands, for its full realization, the whole gamut of physical dimension. Furthermore, in so far as the process of human perception operates as a three-dimensional experience, it will demand from a work of visual art a similar condition of physical form. This means that the purely abstract artist will be frustrated in his urge for complete development so long as he confines himself to the surface bound medium of painting alone'.
(J. Reichardt, Victor Pasmore, London, 1962, Artist Statement)
Pasmore's theories on art were influenced by the writings of the American artist Charles Biederman who believed that abstract art and its inevitable objectification meant that the space that the art inhabited was integral to the work itself. The subsequent constructed reliefs that Pasmore created and his enlightened approach to teaching , first at the Central School of Arts and Crafts in London and then King's College, Durham University, brought him to the attention of A.V. Williams, the General Manager of Peterlee New Town.
In 1955 Pasmore was appointed head of the landscape design team on this radical project for the South West Area. Talking at a symposium on Peterlee, Pasmore commented 'I imagine that I am walking or driving along the roads drawn out on my cartoon. It's a kinetic process. As you walk there, turn here, through a little passage here, out into an open space here; meet a tall building there, a gable-end here, a group of houses there and so forth. This process means designing from the inside'.
(From a Symposium on Peterlee, B.B.C. Radio, 22 January 1967)
'Linear Composition' fuses Pasmore's earlier abstract constructions with his work at Peterlee New Town, distilling formalised geometric structures with sweeping elegant dissections. Harmony is achieved through the balance of positive and negative spaces in two and three dimensions. The subtle gravure counterbalances the strong black oil, the large formica square and smaller offset wooden panel are finely counterpoised, all boxed in with the integrated internal elements of the frame making the work a completely homogenous object.
(J. Reichardt, Victor Pasmore, London, 1962, Artist Statement)
Pasmore's theories on art were influenced by the writings of the American artist Charles Biederman who believed that abstract art and its inevitable objectification meant that the space that the art inhabited was integral to the work itself. The subsequent constructed reliefs that Pasmore created and his enlightened approach to teaching , first at the Central School of Arts and Crafts in London and then King's College, Durham University, brought him to the attention of A.V. Williams, the General Manager of Peterlee New Town.
In 1955 Pasmore was appointed head of the landscape design team on this radical project for the South West Area. Talking at a symposium on Peterlee, Pasmore commented 'I imagine that I am walking or driving along the roads drawn out on my cartoon. It's a kinetic process. As you walk there, turn here, through a little passage here, out into an open space here; meet a tall building there, a gable-end here, a group of houses there and so forth. This process means designing from the inside'.
(From a Symposium on Peterlee, B.B.C. Radio, 22 January 1967)
'Linear Composition' fuses Pasmore's earlier abstract constructions with his work at Peterlee New Town, distilling formalised geometric structures with sweeping elegant dissections. Harmony is achieved through the balance of positive and negative spaces in two and three dimensions. The subtle gravure counterbalances the strong black oil, the large formica square and smaller offset wooden panel are finely counterpoised, all boxed in with the integrated internal elements of the frame making the work a completely homogenous object.