The upcoming, highly anticipated Frank Bowling exhibition at Tate Modern in spring 2019 has heightened interest in this exceptional artist, and will chronologically show Bowling’s artistic progression from the early 1960s to the present. The artist’s corpus of sculptural paintings will be exhibited, the selection of which undoubtedly evoke the three dimensionality of the present canvas. Bowling visually orchestrates the expressive and emotional power of colour in a manner that recalls the work of American artist Sam Gilliam, who also looks to colour field painting and lyrical abstraction throughout his dynamic repertoire. Jennifer’s Ear remains a powerful example of Bowling’s technical prowess and painterly genius, as well as his exploratory ways of applying paint by pouring, splitting and dripping—a technique that profoundly invests his canvases with both shape and weight. The artist himself asserts, “The possibilities of paint are never-ending” (Frank Bowling cited in: Imelda Barnard, ‘My Life Has Always Been About Painting’, Apollo: The International Art Magazine, online).
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