Patrick Heron at Turner Contemporary, Margate.
The hanging of this exhibition has had a lot of column inches devoted to it. The paintings looked really good in these spaces and in spite of the missing traditional chronological reasoning did not compete or confuse. The spaces are not huge, so it is easy to move back and forth, cross-checking things if so desired. I failed to see what the fuss was all about. I understood there were themes but to be brutally honest I didn’t pay attention to them and proceeded to wander around and take each work on face value. The signature Herons (the “wobbly hard edged”) such as the huge “Cadmium With Violet, Scarlet, Emerald, Lemon and Venetian: 1969” looked immediately familiar and impressive. These works are characterised by their fully saturated higher-keyed primaries and secondaries straight from the tube, activated more by a literalness in the brushstroke rather than a painterliness per se. The brush being a markedly smaller than thought Japanese watercolour brush. Sitting uniformly on a white ground gives each hue the same reflective force. Complementary colours buzz optically against one another as their shapes flip-flop between positive and negative areas, à la Matisse’s cut outs. Heron’s optimism in an almost hedonistic colour, is supported by his wilfulness to drive each colour shape through to its conclusion in the same way as it was started – the brush scribble, more often than not. They have an insistency which, with hindsight, is possibly their undoing at times; in these works he seems to have put himself ahead of his own curve. By this I mean he understood fully what he was doing, not quite moving himself into the more profound areas of discovery – the speed of acknowledgment of each work’s merits is condensed into a shorter space of time. Colour will always surprise but they teeter ever so slightly into the realms of design (this is not to consider design in any pejorative way but to define its nature in terms of more predictive outcomes, for design has to have a preconditioned purpose at its heart).