Once Scully had encountered Conceptual Art and Minimalism, he moved on from his aesthetic grid paintings to a more stripped-back style.The idea of marrying symmetry with expression went a long way to revive the fortunes of abstraction after a decade in which Pop Art had dominated. Inspired initially by the optical effects of Bridget Riley's stripped patterns, Scully's early 1970s works presented a series of supergrid paintings featuring tight overlapping and precise linear patterns that revelled in their "musical" combination of color and light.In more recent years Scully has focused more on sculpture, working with Corten and stainless steel to produce imposing, stripped back, monuments that celebrate, rather than disguise, their grid-like structure. Scully's paintings appear to have no referent but thematically they often deal with metaphorical ideas that touch on the artist's own spirituality and memories of people, places and objects. These signature works left behind the almost technical precision of his line compositions in favor of a freer application of paint that gave rise to an expressive translation of color, light, and texture. Having abandoned figurativism in the mid-1960s, and a series of precise line paintings in the early 1970s, he turned to "sculptural" canvases that got their name because they featured heavy, tangible, stretches of paint and abutted panels that impose themselves on the viewer. Scully came to international prominence as a painter of abstract works featuring combinations of squares and stripes.
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