Australian artist Kate Smith’s recent show “An Impression of an impression” was characteristically sparse. Comprising just four little landscape-format paintings, two of them given walls of their own, the exhibition showed the artist continuing her practice of working on a very small scale and deftly manipulating the space of her installations.
Three of the four paintings were titled An Impression of an impression (after Rupert Bunny) (all works 2017) and numberedvariations on a theme. In each, hastily brushed-on strokes of chartreuse in oil form the backdrop to quickly scribbled black felt-tip and ballpoint pen drawings of flowers in a jar. Some of the flowers’ petals have been filled in with pastel-pink, orange, brown, and gray acrylic, while others are left as empty outlines, lending the paintings an unfinished air. This sense of incompletion is echoed by the swaths of
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