G Force 1963
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G Force
Catalogue raisonné no. 24
Artist's CR 021
1963
London
Oil on canvas
36 x 56 inches / 0 cm
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Gerald Laing, Keith Lingard, David Milne, Saint Martin’s School of Art, London, 1964chevron_right
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New Images, Richard Feigen Gallery, New York, NY, 1964chevron_right
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Space, Speed, Sex: Works from the early 1960s by Gerald Laing, Hazlitt Holland-Hibbert, London, 2006chevron_right
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Gerald Laing and Alasdair Hamilton, 1971: Gerald Laing, exhibition catalogue, Scottish National Gallery of Modern Art, 1971chevron_right
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Space, Speed, Sex: Works from the early 1960s by Gerald Laing, exhibition catalogue, Hazlitt Holland-Hibbert, 2006chevron_right
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Lindsey Ingram and Rupert Halliwell (eds.), Gerald Laing Prints and Multiples: A Catalogue Raisonné, Sims Reed Ltd, London, 2006chevron_right
Selected Citations and Comments
At this stage I began to introduce colour, in a flat pattern or in flat interlocking shapes. It is worth noting that these flat coloured areas have no pictorial depth. On the other hand, the dotted monochrome areas have atmospheric space and depth, and express real volume, at the same time remaining modular in technique. I should mention two other points about this painting in particular. Firstly, the use of a repetitive image, in this case the same man losing consciousness, i.e. at three different intervals in time on the same canvas (pictorial device with a very respectable genealogy). Second, the use of silver paint. Silver is a colour which appeals to me because of its violent tonal changes according to how the light strikes it, and because of its very arbitrary spacial implications.
, 1971: Gerald Laing, exh. cat., Scottish National Gallery of Modern Art, Edinburgh, 1971, p.11