20th century work
This earlier period of work covers that of the British Constructivists* (about whom there is more in the video section) and continues across the divide which became the colour work of today.

The Constructivist position aligned with the earlier avant-gardes in emphasizing the use of modern materials, colour was only used if it was integral. (Although I did anodise colour onto aluminium sheet.)

Reductionism, to the basic units, or building blocks was a central theme expessed in varied ways. Parallel to this was a pursuit of the geometrics of light on the surface of industrial materials (especially transparent and with integral colour).

The line-to-grid theme had a somewhat different emphasis and led to a number of works in neon throughout the 1970s.

The interlocking series began with the large work in the Systems exhibition (London, 1972) which also incorporated neon and optical fibre, probably the first use of optical fibre in UK art. Also used in the late 60s was metal coated with electro-luminescent paint, this technique was used for a wall-mounted chessboard with magnetic pieces. In other words I experimented with a number of unusual materials but did not find the support needed to develop them further.

Traditional colour / surface work was always an option, due to earlier figurative training, but applying the principals of abstraction. This period passed through several years of working with the computer. By 2002 this changed into working directly onto canvas or paper, the red series is the first result of thet change.

* There was only ONE British Constructivist group.

Precursor work.
Line to grid series.
Precursor work.
XRL series.
Small plastic edition made in 1975.
Precursor work.
Twenty five squares at eight levels.
The Open University three part commission was destroyed by fire some years ago.
Precursor of maquette below.
This is a later version (1979) with added colour.
Two part construction on three planes 1965
30.5 x 45.5 cm.
ink, perspex, plastic and aluminium
Study 1964
aluminium sheet, white plastic sheet, pink and transparent perspex rods
since dismantled
Study 1963/64
plastics
Study 1963/64
steel and plastics
Directed path on two planes 1966
25 x 25 x 3 in.
engraved vinyl sheet
Nine squares on two planes (closed loop) 1975
36 x 36 x 12 in.
nickel plated brass
Dean Galley Collection
Matrix : six developments of one line on two planes 1969
24 x 36 x 2 1/2 in.
plastics, rubber and stainless steel rods
Sainsbury Centre Collection
Peano curve in oblique space 1978
48 x 36 in.
engraved brushed aluminum laminated plastic
Expanding revolving line 1965
15 x 15 in.
plastics and aluminium
later version in Henry Moore Institute collection
Twenty five squares at eight levels 1982
approx. 32 x 32 in.
stainless steel and cellulose paint
Unilever collection
Grey-scale and yellow gamme 1976/77
48 x 36 in.
Proll paint sprayed on plastic on wood frame
Grey-scale and colour ribbon / counter-rhythms 1978/80
48 x 36 in.
Proll paint sprayed on plastic on wood frame
Colour tumbling throuh grey-scale 1979/81
48 x 36 in.
Proll paint sprayed on plastic on wood frame
Golden section array 1983
12 1/2 x 12 x 1/8th in.
steel, plastic and anodized aluminium
Full size maquette for Open University commission 1981
wood and card
Center for Advanced Visual Studies (CAVS), MIT, US
Open University installation 1982/83
sandblasted mirror panel with anodized aluminium sheet
Maquette for Open University commission (version 2) 1983
12 1/2 x 32 x 3/8th in.
steel, laminated plastic and anodized aluminium
Maquette for Open University commission (version 1) 1983
12 1/2 x 32 x 3/8th in.,
steel, laminated plastic and anodized aluminium
Centripetal rose 1982
12 x 9 x 3/8th in.,
engraved laminated plastic
one of three versions
Plato's column 1987
maquette in expanded polystyrene for small scale US commission in stone
Seriatim Tower 1987
approx. 60 x 45 cm.
aluminium and paints (table not part of work)
Seriatim Tower 1987
approx. 60 x 45 cm.
aluminium and paints (table not part of work)
Interlocking reflex 1974
48 x 64 in.
acrylic on plastic sheet
shown at Hayward Gallery in 1974
Maquette for Interlocking Reflex 1977
12 x 15 in.
aluminium, card and paint
Interlocking reflex : wave rhythms 1978
8 x 12 ft.
stainless steel and cellulose paint
photo : Brooklyn, NY, 1989
© 2007-08 gillian wise