In the 1960s, Gray was making increasingly loose, increasingly explosive, monumental paintings. This is evident especially in the Silver series of 1967. This sense of freedom is evident and deliberate in these charged canvases. Gray said “I thought I should do something untoward and without the rational guidance of my paintbrush. I had nothing to lose, and I wondered what would happen; I picked up a bucket of aluminum paint and threw it at the canvas lying on the floor.”
These works establish Gray as a master of color and material. Silver floats against a backdrop of varied color, alive with an alchemical glow. They alternate between explosive energy and contained reflection, between the universal and the highly personal.
In the 1960s, Gray was making increasingly loose, increasingly explosive, monumental paintings. This is evident especially in the Silver series of 1967. This sense of freedom is evident and deliberate in these charged canvases. Gray said “I thought I should do something untoward and without the rational guidance of my paintbrush. I had nothing to lose, and I wondered what would happen; I picked up a bucket of aluminum paint and threw it at the canvas lying on the floor.”
These works establish Gray as a master of color and material. Silver floats against a backdrop of varied color, alive with an alchemical glow. They alternate between explosive energy and contained reflection, between the universal and the highly personal.
In the 1960s, Gray was making increasingly loose, increasingly explosive, monumental paintings. This is evident especially in the Silver series of 1967. This sense of freedom is evident and deliberate in these charged canvases. Gray said “I thought I should do something untoward and without the rational guidance of my paintbrush. I had nothing to lose, and I wondered what would happen; I picked up a bucket of aluminum paint and threw it at the canvas lying on the floor.”
These works establish Gray as a master of color and material. Silver floats against a backdrop of varied color, alive with an alchemical glow. They alternate between explosive energy and contained reflection, between the universal and the highly personal.
In the 1960s, Gray was making increasingly loose, increasingly explosive, monumental paintings. This is evident especially in the Silver series of 1967. This sense of freedom is evident and deliberate in these charged canvases. Gray said “I thought I should do something untoward and without the rational guidance of my paintbrush. I had nothing to lose, and I wondered what would happen; I picked up a bucket of aluminum paint and threw it at the canvas lying on the floor.”
These works establish Gray as a master of color and material. Silver floats against a backdrop of varied color, alive with an alchemical glow. They alternate between explosive energy and contained reflection, between the universal and the highly personal.
