Biggs and Collings, ‘Paradise’, 2015, Vigo Gallery

A colour goes next to another one, not arbitrarily but with something in mind, a relationship, and that relationship will repeat elsewhere or there’ll be an opposite or some kind of variation. We build them up into an organization. There’s nothing else for the paintings to do but be organized, nowhere else for them to go. (We don’t picture anything.) The organization must be logical but it must also be open and changeable, like reality.

About Biggs and Collings

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