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CGA
Capsule Gallery Auction
New York

frame:33 x 47 inches

nicely framed by Bark Frameworks

Medium
Signature
Signed lower right

Abstract rectangular forms—overlaid and intersecting—are built into paintings about space by skilled colorist Jon Groom. The Welsh painter experiments with color fields, warm and cool hues, and low-contrast tones that fool the eye and appear as afterimages. As he launched his career in London in the 1970s, Groom was greatly influenced by Brice Marden, Agnes Martin, and Rothko’s “multiforms.” He continues to experiment with color to create the illusion of space, and he often works with architectural forms, painting directly onto columns, walls, and floors. Groom likens his process to a “garden fire” saying, “You set the whole thing up, and then you have to follow it.” Once he begins a work, Groom becomes involved with the “living rhythm” driven by the piece itself.” He asserts that his paintings “can say the unspeakable.”

Exhibitions
2016
IO SONO QUELLO - Jon GroomLorenzelli arte
2004
Destination GermanyKunstgalerie Fürth
View all

Untitled #4, 1989

Pastel on paper
29 1/2 × 43 in
74.9 × 109.2 cm
Bidding closed
CGA
Capsule Gallery Auction
New York

frame:33 x 47 inches

nicely framed by Bark Frameworks

Medium
Signature
Signed lower right

Abstract rectangular forms—overlaid and intersecting—are built into paintings about space by skilled colorist Jon Groom. The Welsh painter experiments with color fields, warm and cool hues, and low-contrast tones that fool the eye and appear as afterimages. As he launched his career in London in the 1970s, Groom was greatly influenced by Brice Marden, Agnes Martin, and Rothko’s “multiforms.” He continues to experiment with color to create the illusion of space, and he often works with architectural forms, painting directly onto columns, walls, and floors. Groom likens his process to a “garden fire” saying, “You set the whole thing up, and then you have to follow it.” Once he begins a work, Groom becomes involved with the “living rhythm” driven by the piece itself.” He asserts that his paintings “can say the unspeakable.”

Exhibitions (2)