Biggs & Collings. The longtime collaborative couple (seasoned mosaicist Emma Biggs and renowned art critic Matthew Collings) challenge and inspire how we 'see' in their rubric of color, pattern, and
Matthew's written careful explanations as to what their work was about, what it was like to collaborate, how they combined art writing with actually making art, and how their paintings are intended to have something to do both with modernist and pre-modern visuality.
Matthew, "These paintings don't have any meaning at all beyond the visual, they simply are what they are, arrangements of colours. We don't have any explanations for them, because they don't need any. We always have a lot to say if anyone asks about colours, textures, proportions, balances and harmonies, and so on. This is all very factual and objective. It relies entirely on ideas of success and failure, like a good edit in a film or a good move in a dance, or a good flow of language in a play or a book, etc. We often change the colours to get the overall balance right. But if it's wrong to begin with we don't experience great pain, we just notice that it's wrong. "Wrong" just means the overall effect has a wrongly tuned bit, a dead bit, and is therefore a bit unsurprising. You can't calculate a surprise, you have to keep building and plodding, and putting things together, and then you start to see what's needed (in this, the paintings, while completely abstract, and done by two people instead of just one, are pretty much the same as any paintings from any time)."