Page 52 - The Woven Tale Press Vol. IV #6

Prescott works from studios based in central London and St. Ives, Cornwall, UK, and the geometric influences of the city become inter-woven with
the seascapes of St. Ives. Her fascination with light, however, is a constant and she uses it to create both positive and negative shapes. (See detail from Antipodean Reconstrution, where the central motif appears as a solid and a space).
The function of a painting depicting space through cognitive linear and/or aerial perspective becomes an extraneous concept when confronted with a complex marriage of two and three dimensions, where space and its percep- tion become a totally personal experience, as is our own perception of reality.
The reconstruction pieces as featured, are so called because Prescott uses elements from previously worked canvases, positioning them within new structures and creating dynamic interactions between forms. The conven- tional historical means of creating the appearance of space on a 2D surface are flaunted, sometimes disregarded totally, as Prescott challenges us by her inter-dimensional pieces.
The inspiration for “Recomposite With Backlight” is an amalgamation of urban forms reflecting the Cornish sun. It illustrates well Prescott’s manipulation of space and the exploration of its limitless possibilities, as pieces exists on all dimensions – flat to the canvas surface, extending to-
wards the spectator, and drawing them deep into the recess within the stretchers, creating a hidden world which the spectator may only glimpse.
The constant theme of light reappears in “Recompos- ite At Dawn” where references are made to the bril- liance of a sunset, the stillness of rock pools, and
the rocks, which nurture them. This is the first piece where recesses have been bathed in color so that, rather than utilizing black as a space or solid, she cre- ates sunbathed crevices and alluring shadows.
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