IKON Gallery
Lorraine Molins exhibited at Ikon Gallery in Birmingham in 1982 as part of her early professional career.
The exhibition forms part of a long history of exhibitions and projects that have contributed to Lorraine's development as an abstract painter. Having received an Arts Council Award, Lorraine was invited to exhibit at the prestigious Arts Council Ikon Gallery.
Guardian Review
"Lorraine Molins paints huge abstracts full of colour and movement and frequently related to time, weather or place. This show has paintings and drawings executed over the last three years in which she cheerfully and slickly goes after naked sensation.
'About Feeling Dizzy', a very human piece hero-worshipping Matisse and gaily related to dance, has brilliant sunshine yellows waltzing off the canvas. 'Balanced On A Knife Edge', imbued with the teetering feel of standing on a precipice, tackles the issues of balance in painting. 'Blue Heat' conjures up a hot and windy Mediterranean day; and 'Spain – Double Vision' features blinding light pouring through doors, the light from a distance that Molins seems to return to again and again.
Her latest work, 'Green Painting With A Gap In The Middle', is a newish departure – mirroring, floating, topsy-turvy shapes in a double horizontal arrangement – but the colour is acid and fresh and uninhibited as ever. I like her cheek,
too: 'Red Shape, That's All' is simply a shape pulled out of another painting and reworked as a separate canvas. "
Irene McManus
The exhibition forms part of a long history of exhibitions and projects that have contributed to Lorraine's development as an abstract painter. Having received an Arts Council Award, Lorraine was invited to exhibit at the prestigious Arts Council Ikon Gallery.
Guardian Review
"Lorraine Molins paints huge abstracts full of colour and movement and frequently related to time, weather or place. This show has paintings and drawings executed over the last three years in which she cheerfully and slickly goes after naked sensation.
'About Feeling Dizzy', a very human piece hero-worshipping Matisse and gaily related to dance, has brilliant sunshine yellows waltzing off the canvas. 'Balanced On A Knife Edge', imbued with the teetering feel of standing on a precipice, tackles the issues of balance in painting. 'Blue Heat' conjures up a hot and windy Mediterranean day; and 'Spain – Double Vision' features blinding light pouring through doors, the light from a distance that Molins seems to return to again and again.
Her latest work, 'Green Painting With A Gap In The Middle', is a newish departure – mirroring, floating, topsy-turvy shapes in a double horizontal arrangement – but the colour is acid and fresh and uninhibited as ever. I like her cheek,
too: 'Red Shape, That's All' is simply a shape pulled out of another painting and reworked as a separate canvas. "
Irene McManus
