See also paintings from Territory.
Read Thérèse Oulton’s essay, Brief Notes on a Change of Identity, from the catalogue.
Read an interview with Thérèse Oulton, discussing the works in this exhibition.
Those who are familiar with Thérèse Oulton’s work will be initially surprised by the apparent change of direction that her work has taken in her exhibition Territory at Marlborough Fine Art. In place of the large scale abstract compositions of the recent past, she is exhibiting here a new series of 24 small format landscapes. The artist, however, sees this new body of work as representing the continuation of her exploration of the various themes which have always been of interest to her: light, surface, texture, geography and landscape.
“The calligraphy is still unmistakably hers, but it is used in these new works to say something different, even profound, as if with one bound she had escaped from self-consciousness.”
Germaine Greer, The Guardian
Describing these new, smaller, paintings in her profound introduction to the catalogue Brief Notes on a Change of Identity, Oulton writes:
“During the long period inching my way into these new paintings, visitors to the studio brought up various questions, reflections, comments here recorded as best I can – fragments, some jotted down at the time some not, so decidedly unreliable. Considering the lack of any transitional works marking the route from the ‘old self’, my nerves about their showing were nearly always redundant. More visitors seemed to claim there was no change, that they were still recognisably, coherently mine. Was I to take this as heartening proof that identity languishes somewhere beyond ‘styles of radical will’, or despondent that I hadn’t achieved the desired and revolutionary shift into the being another person, another painter.
In its title alone the exhibition prior to this looks retrospectively prescient of a becoming strategy. “Lines of Flight” might have aspired to flee away, flight from (as well of course to their own concerns). So the high perspective of “Territory” could possibly be from a direction towards the more earthbound from an even-further-away, coming to their height from an outer space. Of course all flights leave their ‘lines’. And given perspectival height backwards into even earlier selves, older structural passions, perhaps this body of paintings is less aberrant.”
Oulton’s beautiful new works on paper will be also shown in the graphics department.