Mr Jeremy Moon experiments
1965

The Times

 

From our art critic

 

The trouble with the word ‘abstract’ is that one only too easily thinks of it as implying a kind of process of ‘going abstract’, in which the artist gradually reduces what he sees to a simplified pattern. Certainly modern abstract art was arrived at in this way, but sometime ago we reached a stage at which the formal starting point in the visible world was not traceable in the work itself - the language had been set on its own feet and an artist could adopt it as early as he liked.

 

Kenneth Noland is an artist of this kind, and his work may show a sudden change in appearance as he tries out a new formal motive for its possibilities. The same is true of Jeremy Moon, a young hard-edge painter exhibiting at the Rowan Gallery, 52a Lowndes Street, SW1. He has taken up several different ideas, almost, it appears, at random, and tried them out. Generally speaking he keeps his formal elements simple, they are mostly lozenges and stripes, and plays about instead with colour-changes and the shape of the canvas itself. In his paintings of last year he used a triangular canvas broken into stripes along one edge, and a long stepped canvas marked with small lozenges which seem to be in flight. This year he has tried more elaborate shapes, some of which he will perhaps not follow up.

 

At present the most successful seem the least fussy, where balance and movement arise naturally from a combination of forms and colours; in the sombre opposed triangles called ‘From Nepal’, for example. Or in the triangular ‘Green Sound’ which gives an impression of sound waves transposed into colour.