Callum Innes

Frith Street Gallery | Soho Square

It is not so long since the inherently repetitive nature of cultural activity seemed to suggest that abstraction was a vanquished option. How could you confront everyday reality with the reality of painting if there were no difference between the two? In some quarters, however, it is increasingly the tendency to reassert claims of value against the more self-indulgent aspects of post-Modernism’s love affair with heterogeneity. As Kate Soper said at a recent conference on “Values” at the ICA, “reveling in the loss of progress is a Western metropolitan privilege that depends on living in a certain state of grace, a condition where no one is starving you, torturing you, no one is even denying you the price of a cinema ticket or tube fare to the conference on post-Modernism.” Aimed at reinvesting the possibility of abstraction as a first-order practice, Callum Innes’ canvases do not sit easily

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