Uglow was consistently concerned with formal relationships within a self-sufficient system, whatever the subject. He graduated colour according to a tonal scale and used drawing to define three-dimensional form and tactile surfaces. The proportions of the images and of the canvas itself are often mathematically derived, as in the Nude from Twelve Regular Vertical Positions from the Eye (1967; U. Liverpool). There is a strong conceptual element in Uglow's work, with each picture regarded as a specific project with clearly defined aims. The end product unambiguously reveals the history of its making by a prolonged and entirely conscious process of analysis and synthesis, combining objectivity with a private and often quirky passion.
Euan Uglow (exh. cat. by M. Murphy, ACGB, 1974)
Hayward Annual 1979 (exh. cat., ACGB, 1979)
KENNETH G. HAY
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