Ithell Colquhoun

Written By Sheila Woollam

When I first visited this exhibition I had left feeling disappointed. Given the subject matter and as that had been my first exposure to this artist, I felt it was important to revisit the work.

I think I discovered why I reacted badly the first time.

Colquhoun's intention appears to have followed an enquiry into humanity's ‘being’ and its spiritual and mystical alignments. She has woven her experiments and artworks as if they were threads within the Jewel Net of Indra.

Her research and enquiry are evident in this extensive curation of Colquhoun’s work. But we didn't get to meet the artist! I knew as much about her as I did before I visited.

I'm not convinced that Tate achieved the right balance here. The lack of knowledge surrounding the spiritual aspects of the works and an obvious need to cram in as much as possible with a shallow and superficial comment addressing big ideas is disappointing.

Nowhere did they attempt to define the term occult in the context of her works. The word carries such a loaded, prejudiced understanding that it does require attention. Out of the dark, making itself known...? It's not hard.

I would have been so much happier to see Colquhoun’s resolved works with an informed comment to accompany them. The keyword for my experience of this exhibition has to be fractured.  

I am pleased I revisited the works.  The sheer scale and colour treatment of some of her resolved paintings is breathtaking.  The skillful treatment of ‘as above so below’ is remarkable. The demarkation between the two skillfully handled using muted tones contrasted with brilliant colour. 

Sheila Woollam
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Sidney Nolan Exhibition.