Unseasonal encounters

Andy Goldsworthy, Snowballs in Summer, 2000

Snow is one of my very favourite things. I might not like the inconvenience of it and I’m not keen on the slip hazard aspect but that fades into insignificance against the way it looks. So snow as art is something I might reasonably be expected to love, right? Well, as it turns out, not necessarily.

In the run up to his exhibition at the Barbican in 2000, Andy Goldsworthy brought thirteen giant snowballs to London, placing them around the city to be discovered on midsummer day. The snowballs, each weighing approximately a ton and approximately 2m across, had been made in Scotland during the previous two winters and kept in cold-storage in readiness. Embedded in them were reminders of the rural landscape from which they originated which would become more apparent as the snow melted leaving behind the twigs, pebbles, sheep’s wool, barbed wire and so on.

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Wintery thoughts

Gerhard Richter,  Abstract Painting 912-1, 2009

Taking a last look at Gerhard Richter: Panorama at Tate Modern, which finishes tomorrow, I was struck, as at previous visits, by the large, predominantly white, abstract painting in the final room of the main show. The white of the painting makes it feel like a large, snowy landscape at once charming me and reminding me that this winter has so far failed to bite.

The traces of colour coming through the white make me think of Peter Doig’s Ski Jacket, a painting of a similar size and somewhat similar palette, though Doig’s painting makes much more use of colour. (It also reminds me of Wilhelm Sasnal’s Photophobia though that lacks scale by comparison.)

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