Painting No.44, ( green/black )


Painting No.44, ( green/black )
Pva On Canvas
1500 x 1770

Of these bolted Block paintings Bambury wrote in the catalogue of Seven Painters: The Eighties of a comparison between them and Noam Chomsky\'s theory of linguistics. Chomsky posited a distinction between a sentence\'s \" surface structure \" and its \" deep structure \" the former concerning grammatical word order and the latter the meaning or underlying abstract concept beneath it. Deep structure is never spoken nor heard. Bambury says that \" this unseen and unspoken component of language might come close to what I call non verbal thought in painting.\" Using another analogy he took the terminology of Len Lye who distinguished between \" old brain \" and \" new brain. \" Old brain was concerned with the mysterious and had the ability to discern unconscious genetic social evolutionary values of fine art myth - i.e. the workings of the creative imagination. For Bambury, Lye\'s \" old brain \" is the same as his own idea of the contribution made by non-verbal thought in painting. Bambury was interested too in the theories about brain orientation, specifically the notion that the left hemisphere contains the systems containing language and analytical thought while the right can work out concepts without any kind of language. Lye\'s \" old brain \" is the creative side; the right hemisphere, the non verbal - or painting as \" thinking without language \" as described by Francois Lhermitte in his book of the same title. The surfaces of Bambury\'s green/black painting are worked up layers of paint so that the signs of process are there but without any concern for expressive gesture. The two colours work on the contemplative viewer as an actualised object based on contrast. These works are identified merely by numbers rather than allusive titles.

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