Abstract

This solo exhibition of forty new works was held at Thompsons Gallery, London, who produced the accompanying catalogue. The directors and selection panel curate a relatively small number of annual exhibitions of the work of UK artists. The outputs extended Healey’s theoretical research on the impact of specific geo-locus on the work of the Colourists and consisted of visual experiments undertaken in coastal regions of the West Coast of Scotland, which were linked to ongoing experiments undertaken in Brazil. The work produced for this exhibition deepened Healey’s visual research in peripheral and coastal light conditions and enabled him to produce larger scale works based on new experimental depictions. Research undertaken in Ardnamurichan facilitated a departure in theme and resonance. The new large scale paintings relied on extensive on-site research in the Inner Hebrides, an area so remote that little recorded painting is currently accessible as antecedent. The rationale underpinning the project was that new larger scale visual research methods undertaken on shifting light effects in ‘peripheral reaches’, such as the Hebrides could be combined as a cohesive whole with the continued new paintings of experimental light effects in the more tropical coastal areas of Brazil, Australia and North America.

This invited solo exhibition at Thompson’s Gallery, London followed several earlier shows since 2001 and extended Healey’s longer term research in experimental depictions of evanescent coastal light conditions. This was further extended through Healey’s continued investigations into the impact of Redpath and the particular qualities of Mediterranean light as exemplified in the work of several of the Scottish Colourists following their sojourn to Southern Europe. Despite differences in location, genre, colour saturation and experimental light affects, a cohesive synthesis that brought together disparate yet resonant themes and visual enquiry was a primary objective. These visual experiments continued an extensive iterative process that included a smaller selection of works being presented to and selected by the gallery selection panel. Of these, new paintings were subsequently re-made and extended. A catalogue was published by the gallery. The focus of this research is also part of an ongoing dialogue with ‘capturing the moment’ that has been explored in several exhibitions. An appraisal of this approach has been featured over four pages of the British Magazine, ‘The Artist’, which featured eight of Healey’s paintings.