Agnes Martin, Faraway Love, 1999

After a long period of leaving her works untitled, Agnes Martin adopted an exuberant, even ecstatic tone when titling her later paintings. Here, vertical bands of light-coloured paint have been overpainted with white paint, while light and delicate pencil lines mark the edges of the bands. This contributes to the sense of the sublime that characterises Martin’s work. Both the spirituality and geometric aspects of her paintings draw comparisons with the work of Mondrian as well as the colour field paintings of Barnett Newman and Mark Rothko. All share, to some degree, a quest for ‘spiritual otherness.’

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HOUSE IN SEIJO, 1973, KAZUO SHINOHARA