(ab strak' tid)
Relating well to this ordered obsession is Heidi Thompson's large colour field works. The immediate impression is a sensate response as colour field becomes a launching pad for more particular experiences embedded in the viewer's consciousness, to spring into being.
Using the piece as an object for meditation, and paring the sensation down to the energy that is flowing into the eyes and being then transmitted to the brain brings about a distinctly human frame of mind. Because there is no subject other than the materials that make up the phenomenal object that is the piece of art, there is room to enter into a symbiotic relationship with the artwork. This pure seeing, because of human cognizance, causes an emotion in reaction to the sheer beauty, or maybe dread at the subliminal mystery inherent in being or it could be a pleasurable shock at the glory of perceiving such a vision. This is the strength and appeal of Thompson's abstraction; the psychic or spiritual overrides matter spurred by remembrance or recollection. The art work as physical presence catches attention (memory of patina, wall or rust, for instance) and yet it doesn't fade into disinterest over time. The wonder continues and the piece pulses a new version of the vision with each encounter.