
Top: Forgotten Angle - Ancient 200 x 100 cm - this one really spoke to me. It made me catch my breath with sadness. Unforgiving burnt oranges and deep blues.
Below: Invisible Filter - Illusion 112 x 284 cm - conversely, this lit up the room, as its impressive scale dominated one wall at the end of the gallery. It glowed and radiated freshness and joy.
The
Falle Fine Art Gallery, Jersey recently hosted an exhibition of the British Post-war Abstract painter
Paul John Kilshaw.
my opinion.Following the celebration of perspective in traditional realism of the >16th century, Modernism rejected perspective and progressed to flatten images into basic compositions across two dimensions, for example in the work of
Mondrian's
De Stijl and
Matisse's abstracts and collage. Gaining experience from the post-war anxiety and cultural liberation of
American Abstract Expressionism and
British Expressionists such as
Bacon, British abstract painters began to regain a more
painterly fashion in order to eradicate the restrictions of pretentiously clinical avant-garde of the early 20th century.
And now, as a new dawn of
British Abstraction draws, perspective is making an unexpected return to our anarchist abstract. Seen in Kilshaw's work, the abstract curves of
Picasso and
Hepworth slide past one another like
transparent filters - creating a new dimension that can be reached into. Explored. This is new abstract. Where
Classicism and
Modernism collide.
Juxtaposing rigidity with weightlessness; expressive marks with solid objectivity. Nothing, and everything, makes sense. Every element of Kilshaw's work is informed, and refined. This is the true British Abstract of the Postmodern age.