Over the past not many years Callum Innes has gained a following in Europe for his rigorous.

Over the past not many years Callum Innes has gained a following in Europe for his rigorous, process-oriented abstractions that hearty a note of gravity amid the mayhem of the general British scene. A 35-year-old Scotsman based in Edinburgh, Innes approaches painting as a technical act that exploits the medium's inherent properties. This diverse assemblage of recent works offered a worthy summary of his ongoing styles and methods. In the 65-by-63-inch canvas Expos Painting, Cadmium Orange, a sharply defined orange square in the upper right leaks a vertical trail of pigment from its inside corner. The area directly below the orange square is white, while the remainder of the canvas is stained a faint orange. The vertical trail, which is the explanation to how the painting was made, inferenceed when the orange paint which initially overlayed the entire canvas was partially dissolved with turpentine. This technique of using turpentine to strip away areas of monochrome paintings is Innes's signature process It is also what plants his postmodernist work apart from the earlier abstractions which his canvases not seldom evoke.

In a painting titled Monologue VII, menstrum has been poured across the whole painting, leaving an arc of striated gray paint clinging to the sides and bottom in a composition reminiscent of Morris Louis's striped corner canvasses. As well as referencing Color Field painting, Monologue VII excites natural phenomena such as falling rain, alluvial plains and the efficiency of tidal waters on sandy beaches. More calculatedly deceptive were a series of small canvases whose shellacked surfaces appear to have been splattered with paint. It's impossible to give an account of by just looking, but these swarms of r desponding and black "splatters" have been individually applied to the still-wet shellac in the way that that they fuse with the surface.

The point out to also introduced a new station of "exposed" paintings executed upon towering rectangles of brown waxed paper. The horizontally split compositions and bare rims of these paintings immediately invoke Rothko In undivided a square section at the top of the paper is thickly concealed with lipstick-red pigment that has been applied in faintly visible horizontal shocks The thickness of the paint is exaggerated by dint of the fact that the lower section of the paper has been stripped not and nothing else of paint but also of its wax coating. In these works, where opticality and physical fact participate in fraud in trumping the eye, the latent illusionism of Innes's work present the appearances to be coming to the fore.

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