Recent Reviews  

"And, on that score, we might grasp Bowles’ horizontally posited series of vertical elements as an extension of Judd’s vertically presented horizontal stacked units. Indeed, this contention garners plausibility if we note the similar usage of subtly coloured shadows shared by both Bowles and Judd. Yet it is important not to construe this kinship in terms of identity; indeed, there is something of a reversal here. Judd avowed that the thought underpinning his works stemmed from painting, even though he did not paint. Bowles’ artworks can be apprehended, then, as returning Judd’s procedures back to that originary thought of painting. In doing so, any influence from Minimalism in her practice is rerouted via the various explorations of painting that occurred during the 1960s and 1970s…:” 

 

Matthew Bowman 

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"My focus is drawn immediately in between each of the panels, creating a complex optical illusion. Structures of shadows in differing forms (according to the time of day) exist transitorially. The format and the quality of colour call to mind the fragility, and the vertical and horizontal balance, of Agnes Martin’s non-insistent yet assertive grids. Translucently pale, the stretched thin cotton feels upholstered. The cotton is stained with two closely toned colours, like the colour of fabric plasters. Domestic connotations are vividly interplayed with a ‘sleight of hand’, as Bowles observes. Her manual dexterity in the construction of each panel and her use of colour feels drawn from her family relationships and the tensions of everyday life. Each of the elegant structures has an inverted join at the front, developing further structural shadow-play. The Daughters of the Evening, made in 2021, is a sophisticated work which absorbs the light and atmosphere around it, but also perhaps assimilates snatches of conversation, shared activities, and her family’s history of making.” 

 

Laurence Noga

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