In Resonance, black paint is removed so finely that the canvas takes on the dynamics of etching. The technique of ‘unpainting’ generally involves removing applied paint with turpentine to give a fluid quality to the block of colour that remains. A stunning example is the series of Exposed Paintings in Dioxazine Violet displayed in the largest gallery at Modern Art Oxford. The Violet colour offers a flowing sensation and appears to move, particularly when viewed from a distance. On closer inspection, the sophistication of the painting is apparent. It is reported that Innes develops some of his work during a residency in Amsterdam; a city where the flow of water through canals is continuous. On a personal note the Violet flowing colour of these large paintings reminds me of the reflection of natural light bouncing off moving water. But the meditative emotional quality of the work is sure to invite an individual response in each viewer.
From the titles of the work, such as Cadmium Orange on White or Yellow Oxide on White it is clear the quality of the colour is central to the work. The title of a previous group exhibition, Who’s Afraid of Red, Yellow and Blue?, hints too at a movement amongst contemporary Artists to communicate through the energy of colour. Innes is hugely successful in achieving a sense of theatricality and drama, as seen in the dynamic Six Identified Forms, from a non-figurative format. In spite of the use of bold blocks of colour in several of the paintings, this exhibition does not feel abstract in style but instinctively traditional. Take a close look at the intricate applications of paint to the surface and it evokes the emotional connection to prehistory where early man strives to record his existence. The longer you look, the more you are moved.