With Bielik the terse mundane monosyllables of the titles (Game, Kiss, Nail) undercut the hectically coloured, waywardly non-representational clusters of colour, floating free, detached from the world of objects, the titles framing paintings which nevertheless allude to real events, but not with Hodgkin’s coy witholding but in a way we are free to make associations with.
Buckeridge searches for a common language without explicit reference to the world but from a series of rational progressions within the logic of the process of painting. A reason, though, more often than not taken further into a world where we can only intuit its path, limn its origins.
Robbins’ work derives entirely from the physical world ‘out there’, (often entering that real world with performance). Her sculptural work builds fragments of the everyday into a collaged and fractured narrative that we are at liberty to re-define. The provisionality is that of the means not the meaning.