Frame-work, the new series of paintings by Peter Adsett, pits intense primary colour against the neutrals - black, white and grey - deployed in finely tuned zones, and bisected by tracts of un-primed linen. These patches of raw ‘ground’, sometimes in the shape of frames, others occupying almost the entire picture face, are key to the operation of the work, with its sequence of grounds asserting themselves.
The painter also discovered afresh the beauty of the material when he peeled away the masking tapes to reveal fabric as colour and texture in its own right. Not only did it contrast with the saturated acrylic, it also worked with it in gratifying complicity to fit-up the beholder. In saying this, we signal a more serious game is at stake, one that involves spatial inconsistencies, or in fact, perceptual aporia. These will necessarily instigate a viewing adjustment, leading us toward a keener appreciation of abstraction than is usually to be experienced these days.
top image: Peter Adsett, No.4 (2018) acrylic; black, Dulux white, pencil on linen, 90 x 90 cm