Call 1967

Phillip King’s ‘Call’ is made with painted steel. It looks like an intriguing conversation between geometric forms, and I can imagine Philip King in his studio, wrestling with these shapes, trying to get them to talk to each other. The vibrant colours – that saturated orange, the deep green, even the purples and reds in the background – they're not just decorative, they're like characters in a play. They remind me of those colour field painters, like Barnett Newman or even Ellsworth Kelly, but with a twist. King is taking colour off the canvas and into the three-dimensional world. It's like he's asking: What happens when colour becomes sculpture? How does it change the way we perceive space, form, and volume? The vertical bar, sliced in two with green and orange, is a total interruption, like a punctuation mark that’s hard to read, but somehow satisfying. For me, painting is always about asking questions, pushing boundaries, and not being afraid to make a mess. And this sculpture feels like a painter's brain in three dimensions, always moving, always restless, always searching.