Untitled

Title and date supplied by the artist for the Auckland City Art Gallery, New Zealand, exhibition Helen F V Scales, 1975-1976. Listed as artwork no. 4 in this exhibition.

Purchased from this exhibition by present owner in 1976 who commented in conversation with B. de Lange, “the colour I find ravishing with its mother-of-pearl sheen – its translucency – like Bonnard's paintings of the 1930s and 1940s.”

In conversation with B. de Lange, 1983, Scales spoke of living in “a horrible yellow house in Mousehole.” The yellow house seen in this painting, Untitled [Mousehole, Cornwall 1] [BC028] and Untitled [Mousehole, Cornwall 2] [BC029] could possibly be the one to which she was referring.

As in Untitled [Mousehole Cornwall 1] [BC028] and Untitled [Mousehole Cornwall 2] [BC029], the derrick is the focal point of this composition. The V-shape formed by its vanes links this painting to the early shapes of ship’s rigging [Shipping, Wellington Harbour] [BC128]], the agaves of the 1930s [Untitled [Mediterranean Scene] 1 [BC016]] and the forked tree trunks of the late 1960s and early 1970s [Bry-sur-Marne, Orchard] [BC069]], in which this shape becomes a tool for her construction of dynamic pictorial space.

The V-shapes of the agaves, trees and derricks, significant elements in her work during and after the 1930s, begin to form the vocabulary of her Modernist work following Hans Hofmann's instruction to do away with single-point perspective.

As well as the equilibrium established by the balanced vanes of the V-shape, there is also an immanent sense of movement. Hofmann said, "We have to experience the object as vital in her existence in space" (Dickey, Tina, Color Creates Light: Studies with Hans Hofmann, Trillistar Books, Canada, 2011, pg 27). Hofmann explained that volumes revolve on their axes to create a sense of movement and counter-movement, which animates and gives depth to the flat surface of the picture plane.

Scales's use and manipulation of the V-shape is one of several examples in her work which demonstrate the way she assimilated, and made her own, the teachings of Hans Hofmann. This example in particular shows her personal interpretation, without imitation, of his theories about the creation of plastic space, which were crucial to the development of her modernism.