One of my favorite contemporaries is Alexis Harding, an old friend. I think he uses gravity in a very good way, with a lot of intervention on the way down. He pours a grid of commercial enamel over artist’s oils, and when the piece is vertical the grid slides down
the surface and breaks up. But it’s not a concept. He controls how much time to give it, how fast it goes, and when the piece is drying horizontal on the floor he pokes at the paint, moves it around a bit, and generally guides it toward completion, a state never fully reached. What I especially like is the clear pattern or shape that remains. Recently his grids have become a less dominant feature, and I think the work has really moved up a notch or two. This one has an eroticism that recalls both Fontana and Burri.
His tondos are really beautiful, and he understands that the format calls for an asymmetrical arrangement. There’s a lot more to say about his work, which is becoming stronger all the time. It flows, and it has an element of improvisation.