This painting, as with a number of works from the 1950s, resolves Wells' fascination with the geometric forms of Constructivism and his love of the Cornish landscape. Angular forms are contained within evocatively textured surface through Wells' practice of repeatedly incising and scraping-back layers of paint to define form.
Wells' method of selectively revealing layers of underpainting was inherited from Ben Nicholson, giving his ambiguous landscape compositions a geological dimension. During the 1950s Peter Lanyon encouraged Wells to explore the landscape of West Penwith and temper his desire for formal structure with a more romantic response to the landscape.
Where to see this painting?
The Pier Arts Centre
Not all paintings are on display. If you want to see a particular painting, please contact the collection