oil on canvas,
100cm x 100cm,
Iain White 2015,
Here the artist has married two approaches to relief representation on maps to produce form lines simulating the essence of a three dimensional terrain model in this case of the upper part of Strath Dionard. However, this explanation is almost irrelevant when viewed as an aesthetic artefact the appeal to the senses of which is far more complex.
I had long been familiar with the work of Agnes Martin, but became acquainted with it at close quarters during the marvellous retrospective exhibition at Tate Modern in the summer of 2015. There I sat in one room, still and mesmerised by the subtlety, tranquillity and peace exuded by the large square abstracts on the wall opposite me. Somewhere in my brain the experience triggered a memory of a scrap of paper on which I had constructed in 1964 a two dimensional representation of the three dimensions of a mountain massif in NW Sutherland. It was this thought that started the creative journey that these three abstracts represent