Crosshatch drawing across a canvas surface makes for a vaguely incongruous printed
quality. Jocelyn Clarke really does draw and paint at the same
time, to create the sensation and atmosphere of 'early Modern'
formalist discovery. She painstakingly feels her way across the
surface skin in order to describe the already obscured surface
of an object. The colour is minimal, barely significant, and
dense only where there is a build-up of descriptive lines. Two
and three dimensions melt in and out of each other. The effect,
though firmly and delicately bound to its formal premise, is one
of exciting, uncomposed freshness.
Sacha Craddock is a writer and critic based in London and chair of New
For more information about Jocelyn Clarke's work, contact Long & Ryle Gallery, London