The Colour That Was There 1993

Curator: Gillian Ayres's "The Colour That Was There," held in the Tate Collections, presents a fascinating study in form and chromatic interaction. Editor: My first thought? Playground! It feels chaotic, but in a joyful, energetic way. Curator: Note how Ayres utilizes the square format to create a contained yet dynamic composition. The interplay of bold colours, primarily blues and yellows, establishes a visual rhythm, disrupting conventional figure-ground relationships. Editor: It's like she's not afraid of anything. These shapes, they're just there, doing their thing. I'm wondering if she was channeling a memory, maybe a place. Curator: Indeed, the title hints at memory and abstraction. The brushstrokes themselves convey a sense of immediacy, but also a deliberate construction of visual space. Editor: You know, stepping back, I feel a sense of openness. A freedom to see whatever I want in it. Curator: Precisely, the artwork operates as an open system, inviting interpretation through its formal elements. Editor: It's a bold statement about color, isn't it? That something so simple can hold so much. Curator: Yes, through colour and form, Ayres offers us a window into pure visual experience.