54" x 39"
Hallam's perilous search of the unconcealedness of the painting
- art as formal struggle - is rooted in colourism. She will take
a risk, painting with a keen sense of the task she has set herself'.
Chris Horrocks, Kingston University 1998
life too closely to be a traditional artist. At first you think
her paintings are domestic interiors; the more you look at them
they seem like universal allegories. Highly recommended'.
Tim Hilton, The Guardian 1991
aesthetic achievement follows from embedding this interesting, cognitive
architecture of gazes inside an apparently hedonistic pictorial
language, saturated with colour and light, and activated by rhythmic
passages of repeated bar-like brush strokes, which tend to be offset
by more broadly handled areas. As in the best poetry however, these
two forces are combined, and the final, sensual conviction of Hallam's
pictures is enhanced and sustained, rather than compromised, by
their structural and technical complexity'.
David Sweet, Manchester Metropolitan University 1996
the studio, I could wish that, after all these years, I had a system
or fail-safe mechanism that would allow me to execute daily portions
of work in a finite and cumulative manner. However, if a painting
is satisfactorily resolved, I am always glad that I do not have
this safety-net, though I am slow and timid without it. I might
have made things easier for myself had I not wholeheartedly subscribed,
some years ago, to the delectability but near impossibility of what
Adrian Stokes called 'carved rather than modelled colour'. I say
'near impossibility' because I have seen, in the work of the twentieth
century's great colourists, that it can be done.
I suspect I am temperamentally unsuited to take the kind of risks
required to keep a painting open and 'revealed' in this way, with
some connection running through from the first action to the last,
but I dislike the painting of obliteration with its studious evidence
of patience and labour, its corrections and deletions of modified
Nevertheless, I am finding it difficult, so pass me that tube of
white paint and let's get modelling'.
Marilyn Hallam 1998
has been making work and periodically exhibiting since 1972 when
she was generously represented in the exhibition 'Platform 72' at
MOMA, Oxford, selected by the young curator, Nicholas Serota.