Antoni Malinowski

The light-reflecting backgrounds of the paintings make the paint strokes appear and disappear. This depends on the levels of reflection and refraction within the crystals of the ground mica pigment. The brilliant light pouring down from the 46 Copperfield Road skylights is going to trigger further play of electrons within the micro-structures of the pigments used. What is visible, what remains invisible, may suddenly show itself in a lower (obfuscated) light. Then, with brilliant sunshine, the rhythms of the brush-strokes will realign themselves in unexpected configurations. The stronger or weaker reflection of light will alter the tonal relationships within the canvases’ rectangles. The nano-technology interference pigments will bend spectral wave-lengths and bring to our eyes a colour. This colour is going to reveal its dichromatic alter ego with a perpetually changing London light.

At times the light patches reflected off the moving waters of the Regent’s Canal pulsated across the black on black wall painting. The elusive luminosity hovered on the surface. This temporary wall painting was called “through which the light passes”.