Matt Carey-Williams

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Abbie Horberry’s “Veins” (2025) offers up a painterly tempest. Frenzied swirls of pea greens and oxidized reds engage in a battle purloined from the annals of Futurism or the École de Paris. Such is the tempo of wind here that Abbie’s ground implodes in on itself with her canvas splintering into threads that arc across the surface or ruffle together at the lower right corner, as if to batten down the hatches. If the wind soothes with sublime suggestion in Aaron Kudi’s “Quattro Stagioni Runs” then, here, its violence runs wild across a ‘scape so intensely battered that it coalesces into pure abstraction. Only the wind remains. This small but determined painting powerfully displays Abbie’s desire to elicit what Immanuel Kant called ‘purposiveness without purpose’. So abstract, so mellifluous has the artist’s surface become that the viewer has no way to know how to enter or exit space which, in turn, nourishes the status of the painting not just as an phenomenological object – a thing simply to be seen and not read - but also fuels the process which endeavours to determine such impalpability of discourse or narrative (but not meaning). The goal is to simply sail on the wind for the sheer joy of doing so and to let the rendition of that flight and flux sit outside of any confines provided by empiricism or objectivity. This is the freedom which Abbie displays in her paintings – the engine of her enterprise – and which gives her the permission to delight in the inchoate ambiguity of life without any need to determine the sanctity of place or person. Abbie’s “Veins” are included in my forthcoming two-person presentation, “Scene XI: a world of dew”. The show opens on Wednesday 4 June at my space on Porchester Place and all are so very welcome. #artinlondon #emergingart #emergingartist #painting #painter #contemporaryart #art #artist

05.28 18:18

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