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拍品專文
In Suspended Forms, Blue an architecture of overlapping circles and rectangles forms a gestural mediation on space, tone and light. Feiler was looking to his studio for inspiration, translating the array of furniture, easels, canvas stretchers, and mirrors into an abstraction of interlocking shapes and structures. He had established a studio in a disused chapel in Kerris, near Penzance following the success of his 1953 solo exhibition at Redfern Gallery. The first decade in Cornwall was defined by his response to the dramatic Atlantic coastline and particular quality of light he found there, and joined his contemporaries Peter Lanyon, Roger Hilton and Patrick Heron as a central figure in the post-war abstraction pioneered in St Ives. By the time the present work was painted in 1965 Feiler was adapting this gestural, lyrical abstraction to the architecture of his studio, demonstrating his growing interest in geometry. He was on the brink of a radical transformation in his practice, and in 1970 he started to draw controlled, geometric forms in graduating tones of thin paint.
Suspended Forms, Blue demonstrates Feiler’s command of balance, tension and structure as forms pull and recede against the canvas, held within a square format. He explored compositions on numerous studies on paper beforehand and then the process of painting was prolonged, working and re-working the paint to build his characteristic impasto-laden surfaces. Feiler understood the expressive power of paint while using a limited palette to great effect, here a luminous white with forms outlined in warm ochres, reds and blues. In a statement for his 1995 exhibition at Tate St Ives he explained:
‘The works represent a statement of my experience I have shared, that's all. I am very interested in the history of art and the past. I'm very much concerned with man’s activities in terms of creative endeavours and I'm surrounding myself with anything I like irrespective of its ultimate value. I like things man has made. I enjoy having things around that are to do with the creative spirit. And the discrepancy between the good and the bad is so finely balanced that I'm not really concerned with conventional views of what is art. Art is something that is to do with the creative capacity on the part of an individual that you don't learn. It's just written into the make-up' (P. Feiler quoted in M. Raeburn, Paul Feiler, London 2018, p. 7).
Suspended Forms, Blue demonstrates Feiler’s command of balance, tension and structure as forms pull and recede against the canvas, held within a square format. He explored compositions on numerous studies on paper beforehand and then the process of painting was prolonged, working and re-working the paint to build his characteristic impasto-laden surfaces. Feiler understood the expressive power of paint while using a limited palette to great effect, here a luminous white with forms outlined in warm ochres, reds and blues. In a statement for his 1995 exhibition at Tate St Ives he explained:
‘The works represent a statement of my experience I have shared, that's all. I am very interested in the history of art and the past. I'm very much concerned with man’s activities in terms of creative endeavours and I'm surrounding myself with anything I like irrespective of its ultimate value. I like things man has made. I enjoy having things around that are to do with the creative spirit. And the discrepancy between the good and the bad is so finely balanced that I'm not really concerned with conventional views of what is art. Art is something that is to do with the creative capacity on the part of an individual that you don't learn. It's just written into the make-up' (P. Feiler quoted in M. Raeburn, Paul Feiler, London 2018, p. 7).