The Colour Course
October 15 - November 02, 2013
Are Saskia's paintings getting louder? They are certainly increasingly stereophonic. Some colours appear to have increased in volume or saturation, while others are quieted or slightly muted through sanding. This treatment of surface creates texture and spatial depth, whereby colour and form oscillate between foreground and background. Black forms in these paintings resemble leaves and grapes that float in front of layered colours, at the same time acting as deep cuts or voids into the painting.
So colour and form operate here in stereophonic space. And in a similar way, so too does Saskia's sense of framing and edge. There are frames within frames in these paintings, and edges range from the carefully masked to the softly brushed and frayed. This variety of treatment enables Leek to confuse distinctions between form and space with delightful fluidity.
We observe Leek’s sincerity and genuine respect for her subject matter. Her works are an amalgamation of 20th century modernist painting tropes alongside the aesthetic or subject of the Sunday painter - an amalgam with no obvious hierarchy between the two.
Details of works
The Colour Course paintings are oil on board, from 2013.