These two essays analyses colour field paintings by one of Canada's most highly acclaimed artists Guido Molinari. In the late 1960s and early 1970s Molinari's Bi-serial and Triangulaire paintings eliminate the last vestiges of perspective space in modernist painting by limiting forms to multiple units of identical elements with identical dimensions.His canvases are usually divided into two parts with an equal number of elements in the same colours but altered order on both halves of each painting. Essentially viewers who 'read' the canvas from left to right or right to left, when their visual field reaches the middle try to reconcile the two adjacent seemingly similar halves with the result that each unique side forcefully presents their unique individual identity - equal parts in a bi-part whole, similar but different.
|Type||Analysis of two works of art|
|Media of output||Book and online|
|Publisher||Heffel Fine Art|
|Number of pages||4|
|Place of Publication||Vancouver|
|Volume||Post-War & Contemporary Art|
|Publication status||Published - Apr 2019|