Although French painter, Georges Braque (1882-1963) shared with Picasso the deep belief that figuration is the very essence of painting, many trustworthy connoisseurs perceive blatant similarities between Annear and Braque.
In his work, Annear catches something that one could depict – if possible – as an encounter between the souls of colour and lines. Colours are neither patches nor fields; they are vibrations whose power lies in subtle nuances rather that in strength. His lines are ways, not borders. Annear paints wet on wet; His work is not assembled, but blends.
Each of Annear’s paintings carry a portion of the space that he has been exploring since the beginning of his works. They offer our eyes something which stands beyond our perception.
In this sharp composition of red, grey and black rectangles, Annear explores subjects that are recurring in his works: folding line points, folding forms, random geometry and boundaries.
About Jeremy Annear
Favoring natural earth tones juxtaposed against primary colors, Jeremy Annear is influenced by the modernist artists of St. Ives colony, which he discovered as a teenager. The craft-inspired primitivism of artists such as Ben Nicholson, Barbara Hepworth, Roger Hilton, and Sir Terry Frost shaped Annear’s own style and artistic explorations. With a formal education in painting and printmaking, Annear has an acute understanding of how to balance conceptual themes with narrative. Annear works with oil on canvas and board, building images from layered shapes and creating complex surface textures. While St. Ives modernism remains Annear’s greatest inspiration, his work also synthesizes influences from German, Australian, and British cultures, and takes notes from such European modernists as Pablo Picasso, Joan Miró, and Georges Braque.
British, b. 1949, based in Cornwall, United Kingdom