![]() Each layer variessome nearly transparent while others are nearly opaque. Walding uses Japanese knifes to put down a layer of oil paint and wax (in some of the earlier pieces he also used alkyd). This physical effect is mirrored by the methods that Walding uses to create the pieces, each of which is the result of months (if not years) of work. Color is not an end result but the record of a history rising up through layers to reveal itself, finally, just below the surface of the canvas. What rises up from the depths of these paintings by Clark Walding is the evidence of time and of process. In the paintings in Flux the viewer is confronted by form and forced to see it, to recognize its imposition against the undifferentiated ground of being (the color plane). The seeming architecture of a piece like Dark Intervals speaks to the essence of what architecture is and does, how it gives shape not only to the world, but to the mind. Some of the geometric shapes suggest architecture, scaffoldingbut in a way that bypasses the literal and runs straight to metaphor. Colors seep up from deep below the surface. The intersection of these shapes and color planes is volatile. The plane of the canvas is interrupted (in some cases erupted) by geometry: a line, a square, the etched outline of a rectangle, a quarter circle. What seemed to be a solid plane of black is complexified by currents, an undertow of colors changing monochrome into myriad. Step forward and the small details, minute shifts, color flux, begin to come into focus. The solid faces of these paintings, predominantly dark-hued, gleaming like black ice, hide fathomless depths. The seam of gold that runs through a dark cave. ![]() Black murmurs, a molten seep-line of red. ![]()
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