Prismatic New Paintings by Husband and Wife Duo Biggs and Collings
Islamic patterns, an icon preserved in a monastery in the desert, marble statues, Mughal Indian miniatures, invocations of light in black and white patterns on bark in Australia, Bauhaus carpets, a painting by Bridget Riley, 1968 posters in Paris and repetitive decorative patterns by schizophrenics or Druids, we see them all as continuous with Fauvism and Veronese.
Husband and wife duo Emma Biggs and Matthew Collings, both independently established artists and writers, began collaborating in 2001 on abstract, oil-on-canvas paintings, through which they celebrate historical notions of art, centered upon color, light, and perception. Bucking the trend toward ideas about aesthetics, they posit through their work that our appreciation of and desire for beauty in art remains. “Painting is in crisis—what is the point of an antiquated form in a world where representation is ubiquitous?” they have asked. “Our answer comes from looking at its origin, both in the history of art and as the by-product of art’s original intentions: beauty.” Their own practices—Biggs is a mosaic artist, Collings a painter—dovetail in their compositions, which are based upon endless iterations of delicate triangles ensconced in a grid, with dancing, shimmering surfaces.
British, 1956 and 1955