1979 · United States
Abraham’s earlier optical works employed an intense additive pattern making strategy, which would act to stretch and unsettle the gaze. These were paintings full of the hustle bustle of the city. However, in his fresh oeuvre, he has succeeded in experimenting with a slower more elegant rhythm, a fuller shape and a more formal, minimalist language. Interestingly these paintings are derived from zooming in on the complicated patterns of these previous optical works, spotlighting fragments of these earlier illusions. By magnifying and subtracting pattern until a composition is rendered, Abrahams reveals an opportunity to celebrate the negative space both equally and simultaneously as a secondary image. The practice has gone from techno to contemplative. Appreciative of his own space, these meditative works more accurately reflect the artist’s natural character and speed whilst still satisfying his sense of meticulous work practice.
These slow, still, totemic- almost calligraphic forms fleet between their modernist simplicity and a subtle investigation into the effect of light on perception. The paint is applied with a palette knife, causing ridges to form, effecting the interplay between light and composition and inviting them tentatively in the realm between sculpture and painting... Whilst one cannot help being seduced by the implied movement and sculptural, almost architectural imposition of the composition, these paintings also operate on a subtler level, the softness of blurred reflection following one’s movement around the work in a quiet yet elegant fashion. Contemporary yet at the same time archaic and elemental these paintings satiate the desire for a calm contemplation whilst working on a primal visual level.