Prunella Clough is among the most outstanding painters to emerge from the UK within the second half of the twentieth century. Throughout six many years, Clough superior a constellation of quietly rigorous compositions which each inhabited and unwound the style of observational portray. Incessantly borrowing objets and articles from her fast urbanscape, Clough maintained a therapy of the world which extracted semiotic, representational latency by means of whispering and punctilious abstraction.
Throughout this huge oeuvre, Clough foregrounded a preparatory and expository follow, typically using notational paperwork to seize and distill supplies encountered on this planet. These discursive models had been later embedded and frayed inside Clough’s ocular fields, identifiable articles in flip suspended inside distinctly non-referential visible materials. This pictorial sleight-of-hand, and oscillatory movement between rhetorical and nonlexical, manifested inside her work by means of the type of immense stylistic agility.
“Machines for Seeing” presents 9 works by Clough, with a spotlight in the direction of work produced within the closing many years of her life. Every of those representations linger above a bodily realm, suggestive of trade but untethered to signification or depictive use worth. In sustaining this analogous proximity to articles derived from the world, Clough’s work change into technological vessels unto themselves, “machines for seeing” as her peer Patrick Heron as soon as instructed of the work. By the consummation of semantics and playful, pictorial conjecture, Clough’s work change into irradiated with perceptual thoroughfare—in her suggestive compositions, one is directed to and held agency inside the ineffable, phenomenological expertise of cognition and sensual machination alike.
at Château Shatto, Los Angeles
till November 19, 2022