An encounter with Tallulah Nunez abstract paintings confers such feelings of joyful optimism. With everything so loose and full of potential, so loaded with effervescent colour and movement, the visual impact is startling. This sensation of elation felt by the viewer is the happy result of what is often a trying and frustrating studio process for the artist. Welcoming the challenge to balance colours that are not easy neighbours every brush-stroke points toward an immersive, immediate enjoyment in the reactive, physical quality of paint.
There are no explicit entry points to Nunez’s paintings. Instead they are made up of a series of strong, interconnected shapes, sinuous lines and meandering brush strokes, each equally animated, entwined and dependant on one another. There is real skill in trying to let go of artistic control, to not over think the constant decision-making that necessarily takes place in the studio. With every mark and colour a series of complex aesthetic, internal rules and judgements are consciously or unconsciously taking place. Pulling that process of thinking apart has fascinated painters since the beginning of last century. Nunez is following in that tradition, manipulating shape and empty space to imply feelings of movement, tension and visual pleasure.