london

Colin Cina

Serpentine Galleries

The demise of a credible avant-garde has led to a welcome relaxation of attitudes towards progress in art. There’s currently a more open exchange between the past and the present; not only is traditionalism respectable again (for many painters, at least, it was never suspect) but also, it seems, yesterday’s cliché all the more rapidly—and apparently—has become tomorrow’s new image. It ought to be said, though, that there’s a fine distinction between pedestrian reiteration of historical precedents whether of five or five hundred years standing, and a real inventiveness which stems from a less high-minded, even acquisitive, interpretation of conventions.

Colin Cina adopts the leaning-into-the-wind-from-the-future axils and diagonally reciprocating rhythms of Suprematism, Elementarism and De Stijl in an attempt to up-scale and develop the dynamic, layered spatial organization of this earlier

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