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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Encountering a room of Scullys you might think: ‘Oh, a lot of stripes and squares’. But if you look at one for a while it takes you over. Like the tee... read more
Sean Scully’s work has been placed alongside a much-misunderstood seascape by Turner. The result is a fascinating exhibition full of insight, power an... read more