Colcha 1935 - 1942

Majel G. Claflin made this 'Colcha' painting, but we don't know exactly when, or where. It’s giving me ideas about how process shapes the final artwork. The painting is all about the materiality of colour and surface. Claflin uses a limited palette: brown, blue, yellow, pink and cream and she applies the paint flatly, with no attempt to blend or create subtle gradations, so each colour stands out distinctly. There is a brown border. Look closely at the marks; the edges are a bit uneven, revealing the hand of the artist. This lack of perfection gives the work a kind of charm, almost like folk art or outsider art. I keep returning to the cross – so directly rendered in brown. It makes me think about faith and how it can be both a comfort and a burden, a symbol of hope and a reminder of suffering. Thinking of other artists doing similar things, maybe Agnes Martin, who explored similar themes of spirituality and simplicity in her minimalist grids. Ultimately, this work is open to interpretation. It’s like Claflin is inviting us to bring our own experiences and beliefs to the table.