In three rooms we see Scully pushing and pulling surface and depth in dense pastels, exquisitely watery aquatint and spitbite prints, and vast paintings, where he continues to develop his language.
And while Scully’s paintings do evoke land, sea and sky, they’re as likely to reference the medieval Book of Durrow, Moroccan textiles and Van Gogh’s colour and mark-making. We see a painter wrestling not just with Turner’s legacy, but with the history of his medium. And, thankfully, without the forced juxtapositions that can ruin this kind of show.
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