The West Australian

Hues of Haynes still sur­prise

- VIS­UAL ARTS Ge­orge Haynes Art Col­lec­tive WA RE­VIEW WILLIAM YEO­MAN Ge­orge Haynes: Re­cent and Ret­ro­spec­tive Paint­ings is on un­til Novem­ber 24. Arts · Painting · Visual Arts · Kenya

Re­cent & Ret­ro­spec­tive Paint­ings

The large oil paint­ings vi­brat­ing with warm and cool har­monies, some smaller ones curl­ing off the walls in clean curves or, like the sculp­tural, vir­tu­osic maz­zoc­chios, bathing in their own ha­los, are for the most part semi-ab­stract land­scapes, hori­zons over which peeks a ris­ing or sink­ing sun, or the moon or sun glimpsed be­tween a fil­i­gree pro­fu­sion of leaves.

The small gouaches are more ob­vi­ously rep­re­sen­ta­tional, us­ing re­stricted pal­ettes — maybe hues, tints, tones and shades of the same colour, maybe anal­o­gous greens and yel­lows, or greens and blues. They are also qui­eter yet still ca­pa­ble of tur­bu­lence — pi­ano fan­tasias to the oils’ sym­phonies.

This ex­hi­bi­tion of new and ear­lier oil paint­ings and gouaches from the pro­lific brush of Kenya-born Perth artist Ge­orge Haynes de­mon­strates that in this, his 80th birth­day year, he has lost none of his abil­ity to sur­prise and be sur­prised.

If the oil paint­ings such as On the Hori­zon and Across the River in­vite closer scru­tiny by zoom­ing in on in­trigu­ing rhyth­mic pas­sages, the gouaches — all 23 x 31cm — are more win­dows open­ing out­wards on to fa­mil­iar ru­ral and sub­ur­ban cars, build­ings, bridges, parks, ports and beaches.

To­gether, they paint a por­trait of, above all, Haynes as both colourist and com­poser, lux­u­ri­at­ing in the con­so­nances and dis­so­nances among vi­o­lets, golds, in­di­gos, ochres and um­bers.

As Haynes writes in the ac­com­pa­ny­ing book on the gouaches: “Chroma — the key. The key sets the mood — it gives colour to the mu­sic . . . all moods are ex­press­ible with dif­fer­ent colour com­bi­na­tions.”

 ??  ?? Ge­orge Haynes: Across the River.
Ge­orge Haynes: Across the River.

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