Leaves 1963

Mary Fedden made ‘Leaves’ with oil paint, but there's no date, so we can imagine her, brush in hand, lost in the joy of color and form. It's like she’s saying, “Hey, let’s not overthink this; let’s just see what happens.” The texture is built up in layers, a sort of quiet conversation between the colors. Look at the way she's dabbed the paint on the leaves. Not a smooth, blended finish, but these small gestural marks that give a sense of vibrancy. There's a pear hanging over the patterned plate - it's not quite centered, not quite in focus, and it’s this tension that really makes the picture zing. The whole piece feels casual, like a quick sketch, but there's a real sophistication at play. I get a similar feeling from Morandi’s still lives, a similar interest in the poetry of the everyday. Fedden isn't trying to capture reality; she's building a space for seeing and feeling.