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Viewing age-old practices of weaving and ceramics at Tristan Hoare Gallery

The Wick Culture - Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard International love, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Oiseau de papier, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Ale Ale, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Boro Boro, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
Above  Marie Hazard Espirales. Marie También, 2024 © Marie Hazard, Courtesy Tristan Hoare Gallery, Photographer: Fabrice Gousset.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Melting Vessel, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Molted Shell, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
The Wick Culture - Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.
Above  Masaomi Yasunaga Skeleton of a Box, 2023 © Masaomi Yasunaga, Courtesy Lisson Gallery, Photographer: George Darrell.

Marie Hazard & Masaomi Yasunaga

Tristan Hoare Gallery
30 May – 28 June

Bringing these two artists and their chosen materials together is a way of finding connections between the age-old practices of weaving and ceramics, both involving intensive physical labour. Specifically in the woven works of Hazard and in the ceramic vessels of Yasunaga, both artists engage in radical acts to bring their artworks to life, in an attempt to dissociate their chosen mediums from associations with function. Yasunaga, for example, employs glaze as his primary material from which he builds his sculptural works, using fire as a sculpting tool. Each glazed piece is then prepared for firing by burying it under protective layers of sand and kaolin which organically fuse together in the kiln.

Hazard, meanwhile, presents works from a new series, begun in 2017, exploring the Japanese notion of boro boro – referring to textiles that have been stitched, patched, mended or rewoven together. In her works, Hazard introduces woven Japanese paper into her small-format weavings. “One might think they are veils meant to conceal, but they are actually transparent, lightweight. You can see the woven pattern behind the veil.” Hazard explains. “The veils are meant to convey a sense of nobility, of preciousness to a set of techniques usually associated with discards and poverty.”

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Viewing Kenturah Davis invokes trailblazing Black female creatives in drawings, carvings and essays

The Wick Culture - Kenturah Davis, 'clouds XII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds XII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume I (k)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume I (k)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VIII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VIII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume II (marjani)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume II (marjani)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'planar vessel XXVII (jada)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘planar vessel XXVII (jada)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VI', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VI’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds XII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds XII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘duration I (jada)’, 2024. Lenticular print , 48.9 x 68.3cm (19 1/4 x 26 7/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume I (k)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume I (k)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with ash vessels in a walnut frame. Two parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed 154.6 x 96.5cm (60 7/8 x 38in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VIII', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VIII’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'volume II (marjani)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘volume II (marjani)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper with a walnut and brass vessel in a walnut frame, 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 78.1 x 98.1cm (30 3/4 x 38 5/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'planar vessel XXVII (jada)', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘planar vessel XXVII (jada)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper. Four parts, each 75.6 x 75.6cm (29 3/4 x 29 3/4in) Framed: 155.3 x 155.3cm (61 1/8 x 61 1/8in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
The Wick Culture - Kenturah Davis, 'clouds VI', 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.
Above  Kenturah Davis, ‘clouds VI’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright the artist. Courtesy the artist; Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York.

Kenturah Davis: clouds

Stephen Freidman Gallery
31 May – 20 July 2024

It’s London Gallery Weekend, and galleries across the city will play host to special exhibitions, talks and events, with many opening their summer blockbuster shows to coincide with the event. At the top of our list is Kenturah Davis’ UK debut solo show, clouds, coming to Stephen Friedman Gallery. New series of drawings and carvings designed by the artist come together with an essay penned by Davis, in which she invokes the spirits of trailblazing figures, such as the choreographer Katherine Dunham, composer Florence B. Price, theorist Saidiya Hartman, author Toni Morrison, and physicist Carlo Rovelli.

Two stunning new bodies of work are portraits, on paper, and carved by Davis’ partner to her designs from ebony and ash. To make them, Davis invited black women to visit her studio and improvise movement, and took long exposure photographs. These photographic studies are translated into drawings, and on closer inspection, parts of Davis’ writing emerges, in which she details the careers of Katherine Dunham – a choreographer who infused dance with anthropology, and Florence B Price, the first Black female musician to compose for a national symphony orchestra.

A further body of work is based on Davis’ photographs of clouds – a muse and metaphor for Davis, and an anchor for this exhibition, which is all about the possibility of metamorphosis and transformation. Davis will discuss the work with Dr. Zoé Whitley on Friday 31 May at a special opening event, and the gallery will extend its opening hours all weekend.
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Dates
31 May 2024 — 20 July 2024

Viewing Light, colour and rainbows dazzle in Turner Contemporary’s landmark exhibition on Ed Clark

The Wick Culture - Ed Clark, Locomotion, 1963 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth. Photo: Thomas Barratt.
Above  Ed Clark, Locomotion, 1963 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth. Photo: Thomas Barratt.
The Wick Culture - Ed Clark, Blacklash, 1964. © The Art Institute of Chicago / Art Resource, NY.
Above  Ed Clark, Blacklash, 1964. © The Art Institute of Chicago / Art Resource, NY.
The Wick Culture - Ed Clark, Maple Red 1963. Detroit Institute of Arts. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
Above  Ed Clark, Maple Red 1963. Detroit Institute of Arts. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
The Wick Culture - Ed Clark, Self Portrait, 1947-9 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
Above  Ed Clark, Self Portrait, 1947-9 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
The Wick Culture - Ed Clark, Untitled. 1957. The Art Institute of Chicago. © The Art Institute of Chicago / Art Resource, NY. Photo: Elyse Allen.
Above  Ed Clark, Untitled. 1957. The Art Institute of Chicago. © The Art Institute of Chicago / Art Resource, NY. Photo: Elyse Allen.
The Wick Culture - Ed Clark, Untitled c. 1976. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
Above  Ed Clark, Untitled c. 1976. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
The Wick Culture - Ed Clark in his New York studio, 1975 © The Estate of Ed Clark. Photo: Dwight Carter.
Above  Ed Clark in his New York studio, 1975 © The Estate of Ed Clark. Photo: Dwight Carter.
The Wick Culture - Ed Clark, Locomotion, 1963 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth. Photo: Thomas Barratt.
Above  Ed Clark, Locomotion, 1963 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth. Photo: Thomas Barratt.
The Wick Culture - Ed Clark, Blacklash, 1964. © The Art Institute of Chicago / Art Resource, NY.
Above  Ed Clark, Blacklash, 1964. © The Art Institute of Chicago / Art Resource, NY.
The Wick Culture - Ed Clark, Maple Red 1963. Detroit Institute of Arts. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
Above  Ed Clark, Maple Red 1963. Detroit Institute of Arts. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
The Wick Culture - Ed Clark, Self Portrait, 1947-9 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
Above  Ed Clark, Self Portrait, 1947-9 © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
The Wick Culture - Ed Clark, Untitled. 1957. The Art Institute of Chicago. © The Art Institute of Chicago / Art Resource, NY. Photo: Elyse Allen.
Above  Ed Clark, Untitled. 1957. The Art Institute of Chicago. © The Art Institute of Chicago / Art Resource, NY. Photo: Elyse Allen.
The Wick Culture - Ed Clark, Untitled c. 1976. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
Above  Ed Clark, Untitled c. 1976. © The Estate of Ed Clark. Courtesy the Estate and Hauser & Wirth.
The Wick Culture - Ed Clark in his New York studio, 1975 © The Estate of Ed Clark. Photo: Dwight Carter.
Above  Ed Clark in his New York studio, 1975 © The Estate of Ed Clark. Photo: Dwight Carter.

Ed Clark

Turner Contemporary, Rendezvous, Margate, Kent
25 May – 1 September 2024

Though Ed Clark is now acknowledged as a leading figure in the New York School of Abstraction in the 1950s, it wasn’t always the case. The contributions of the American artist, who was born in New Orleans and grew up in Chicago, were only recognised late in his career, and despite seven decades of work, this is also the first institutional exploration of the artist’s work to take place in Europe.

Clark trained at the Art Institute of Chicago, and then went to Paris, where he became influenced by the European modernists – the likes of Nicolas de Staël, Pierre Soulages, and Jean Riopelle. In Paris he also moved in a circle of prominent intellectuals and creatives, including Richard Wright and James Baldwin. When he returned to the US, settling in New York in 1957, he was embedded in the dynamic milieu of downtown, and over the next decade he became a generator of its liveliness, co-founding the co-op Brata Gallery on 10th Street in the East Village.

Clark’s innovations included being the first American artist to exhibit a shaped canvas, and adopting a push broom to apply pigment to his canvases – a technique that became known as a the ‘big sweep’ and allowed him to push paint with great force and astounding results. Some of these works, as well as Clark’s later experiments with new structures in compositions with sweeping rainbows, tubes, and waves of colour, will be included in this landmark exhibition at Turner Contemporary.
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Dates
25 May 2024 — 01 September 2024
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