(2440 x 2135 x 51 mm) oil and acrylic on canvas.
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Night Vision, is a work about the juxtaposition of geometric and painterly language. The scale of the painting alone is necessarily confrontational to human scale. When viewed at a close range it has the ability to consume our field of vision, which is not uncommon in this type of work. However, unlike most, Night Vision quietly (discreetly!) commands our attention from across the room, it promises secrets and begs you to step close enough to wait for a whisper. (Note: this is in the Tate, so you may get the odd eye from the badge-clad crew.)
Rae's work presents a humming flat grey, which acts as a field of reference when dealing with the spatial elements of the work. Long rectangles, equally flat, pleasingly disrupt the movement of the controlled drags of paint that were pulled over them. After a brief conversation with the work, I believe these elements are to be seen as three distinct, separate, layers of space and language, united by tone. Rae's attempt is to highlight the similarity with the different languages: they are all presented with equal control and slick attention to composition and space relations.
The secret, as I understand it, is that both geometric and gestural marks require equal amounts of formal control. The artist is displaying a quick wit in her ability to document a ideological peace conference between two (arguably) warring abstract camps.
Rae's work presents a humming flat grey, which acts as a field of reference when dealing with the spatial elements of the work. Long rectangles, equally flat, pleasingly disrupt the movement of the controlled drags of paint that were pulled over them. After a brief conversation with the work, I believe these elements are to be seen as three distinct, separate, layers of space and language, united by tone. Rae's attempt is to highlight the similarity with the different languages: they are all presented with equal control and slick attention to composition and space relations.
The secret, as I understand it, is that both geometric and gestural marks require equal amounts of formal control. The artist is displaying a quick wit in her ability to document a ideological peace conference between two (arguably) warring abstract camps.
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