Infinite Complex of Surfaces II
If we concentrate on, say, the edge of the palpitating tracery of one of Jeanne Masoero’s paintings, what is tiny becomes so extended, if we travel around every spike and inlet, that we feel we can’t measure it. The very delimitations of form in her work are an expression of endlessness.
Line, wedded in a highly individual way to colour, creates light and space in Masoero’s paintings. She has spoken of the need to “get light into paintings”. For all their suggestions of natural phenomena, macro- or microcosmic, her paintings remain abstract, ie., an autonomous form existing in its own space. An unnameable form which she has likened to a crystal “turned around many times and viewed from different angles”.
Guy Brett, Reading the Space, Ditchling Museum 2007
