“Painting is called upon to purge the unwanted, like a tourniquet removing poisons, as well as to conjure and name its own kingdom.
Catherine Lampert’s essay, first published in the exhibition catalogue for Fool’s Gold, Gimpel Fils, London 1984.
“this painting cannot be consumed as spectacle: it is (a) painting which disallows any easy position of recognition...
Peter Gidal’s catalogue essay on Therese Oulton’s Fool’s Gold, exhibited at Gimpel Fils, 1984.
“It is a re-engagement with painting divested of sentimentality, spurious authority, bogus authenticity and hocus-pocus.
Stuart Morgan’s essay, first published in the exhibition catalogue for Letters to Rose at Galerie Krinzinger, Vienna, 1986.
“There are enough mysteries without burying anything out of sight of the eye.
Thérèse Oulton’s introductory notes for the exhibition Illuminations at Marlborough Graphics, 1998.
“Where the microscope ends, the telescope begins.
Which of the two has the grander view?
John Slyce’s catalogue essay for Thérèse Oulton’s exhibition Slow Motion, 2000.
“Oulton’s attentiveness to every nuance of experience remains unshaken.
Richard Cork’s introductory essay for the exhibition Lines of Flight at Marlborough Fine Art, 2006.
“It's that 'overlooked' that I want to paint, the material that gets overlooked as the eye looks for the subject.
An interview with Thérèse Oulton recorded in February 2010.
“Anonymity is my landmark.
Thérèse Oulton’s catalogue essay for Territory at Marlborough Fine Art, London, 2010.
“What does it mean to imagine the world destroyed?
Jacqueline Rose’s catalogue essay for Elsewhere, Marlborough Fine Art, London 2014.