Some of the paintings in Brian Blanchflower’s Canopy series are so pared back that some commentators have likened them to minimal art, even though their atmosphere of metaphysical exaltation is foreign to minimalism.
“The most important ‘ingredient’ in my paintings is that which is not painted: the unseen, the unknowable, the unnameable,” Blanchflower explains.
His achievement could be compared to predecessors like Pollock, Rothko and Newman who, like him, seek “the essential” by stripping their works of anything adventitious.
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