Research point. Look at artists using positive and negative space

In this research point I have attempted to get to grips with the Harvard Referencing System!

Fig 1. Black Flower 3. 2014

In Gary Hume’s work he simplifies the image down to a few colours and shapes. In Black Flower 3, I like the way the lilac background becomes the outline of the petals and the use of a complementary colour to balance the image.

Fig. 2. Blotter. 1992

Peter Doig is one of my favourite painters and he uses positive and negative space to create unusual, eerie, images. In Blotter, 1992, Walker Art Gallery, the single figure is dwarfed by the background, outlined by a bank of snow where the shapes of the forest trees create shimmering reflections on top of the ice.

Fig. 3. Chair Fire Landscape. (2003)

Bjorn Hegardt creates odd, surreal, images where shadows take on a life of their own. In Chair Fire Landscape  (2003) a monochrome ballpoint pen  drawing of two armchairs is disrupted with the shadow of one chair shown as a red and yellow fire. In Vitamin D. New Perspectives in Drawing,  Lars Bang Larsen, discussing Hegardt’s work, states: ‘Shadows are as active and substantial as the thing that casts them.’ (Dexter. 2005. p138). Even without the fiery shadow the spaces between and under the chairs are interesting.

Fig. 4. Everything that stands will be at odds with its neighbor, and everything that falls will perish without grace. (2003)

Robyn O’Neil’s drawings are epic pencil drawings of snowy landscapes with small figures and sometimes small or large animals. The images are beautiful and mysterious and the blacks and greys of the trees, people, mountains and sky are in stark relief to the snowy landscape and clouds. I would love to see her work in a gallery as a reproduction definitely can’t capture the full force of the image.

Fig. 1. Hume G. (2014) Black Flower 3. gloss paint on aluminium. At: (Accessed 2nd Feb. 2017)

Fig 2. Doig. P. (1993) Blotter. Oil on Canvas. At: www. (Accessed 2nd Feb. 2017)

Fig 3. Hegardt. B. (2003) collage, felt tip pen and ballpoint pen on paper. In: Dexter, E., (2005), Vitamin D. New Perspectives in Drawing. Fig 1. p138. London.  Phaidon.

Fig. 4. O’Neil. R. (2003) pencil on paper, three panels, each 13 x 8 feet. In: Dexter, E., (2005), Vitamin D. New Perspectives in Drawing. Fig 1. p236-237. London.  Phaidon.

Dexter, E., (2005), Vitamin D. New Perspectives in Drawing. London.  Phaidon.


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