November 1968

Ronnie Landfield’s ‘November’ is made up of marks on a dark ground, a process of layering and accumulation that feels intuitive, like one thought building upon another. The colour palette, a mix of autumnal oranges, reds, and blues, creates a sense of depth. Up close, you can see how the texture and surface interact; each stroke loaded with pigment. The paint appears quite thin, allowing the dark ground to peek through, creating a shimmering effect. It’s possible to trace the artist’s hand in the repetition of strokes, like the memory of a feeling. Notice the way the strokes pull together in the center; it makes you want to reach out and gather them. Landfield’s ‘November’ reminds me of the work of someone like Joan Mitchell, in the sense that it’s about embracing ambiguity and the unpredictable nature of artmaking.