B1B: Art Review of Anuk Nauman 2010

The literal tradition of 'I paint as I see it', the observant realists, perhaps this description throws in the face of what art is about. Art is a transition from measurement of shape, form and colour, line often delineating from the outline of objects and the shape within the rectangle of the canvas that we all seem to paint on nowadays.

Somewhere in this text is an answer which you yourself have made clear through your work; abstraction through style of working and presence through your work. The style of your work determines the making of the image and not the other way round as many other artists lamely do. Unfinished work has its heritage in an untidy mind and lazy pretentious state of being. I have fallen into this latter category in the past, but have since pulled at least one sock up!

What I am saying is the professionalism that you adopt to maintain interest in your canvases is self- evident. Patchwork of colour, a clear stain of landscape, tapered not as a mosaic, or tapestry but an organic living picture of faith. There is atmosphere in your abstraction, and a heart felt hearth in the earth, a divulgence of shape, form and colour which defined only by style and demeanour. These are all descriptive terms for painting but useful in investing in the meaning and reflection of your work. Tentative used of the scratch mark as a painted line, the outline is more a serious part of your landscape, the uphill struggle of the long National Trust Walk. I do feel you have learnt to move away from the obvious, Foundation School and Art Degree School, the copying of techniques, the following for the mass of materials to amalgamate to an artwork.

Different subject matter the landscape, the seascape with the community housing, The still life and the colour of Provence have been handled as different entities, different subject matter required a new state of mind. Beginners call it method acting (painting), but I sense the enjoyment of experiment at hand with a special understanding for the foundations of the picture.

Seascapes virile with the sense of shimmer of colour without the classic shimmer that most impoverished artists use. The innate colour formulated, stippled, and rag worn creates a haze of half- blindness for houses where presumably the archaic communities life, idylic and homely. Though naive in the purity of colour your seas, and the nature of the brushwork, I understand them as an entity, welcoming and enjoyable.

Your still life, strongly derivative from Ben Nicolson in cut out line, cubism from Braque and Picasso, are a colour feast, apparently bodged in brush and healthy in background colour, they are the servings of life, living entirely through your technique, happy and outstanding.

Though possibly an esoteric and understandable delineation and investment in colour, the presence of Provence, a well-known subject matter since Van Gogh and Gaugin, provides for the utimate richness of colour in all its diversity, the surity of one astounding colour against another, provides a hive of interest from any of the general public.

B1B: Art Review of Anuk Nauman 2010Scale
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Artist: Anuk Nauman; Critic: E. WallerTA001679 £0.00

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