The Elegance of Minimalist Art
There is an understated elegance in the work of Philip Shinnick, a quiet aesthetic that is nevertheless compelling in its simplicity. Minimalist, with a touch of relief, his plywood diptychs verge on sculptural, the space between the two parts a vital aspect of the composition. Barely primed, lightly coated with paint, the textured background of Shinnick's pieces adds yet another element to the otherwise sparse image, the baroque whorls of the wood in contrast with the delicate lines that hint at architectural sketches.
With references to such Minimalist artists as Donald Judd, Agnes Martin, and Richard Serra, Phillip Shinnick creates works that are a continuation of the genre, marked by a very personal, and highly focused approach. Deceptively simple, his small format works, with the two panels joined in the back with hinges, and presented in a series, offer a variety of readings. The angle of viewing, the lighting, the effect of the adjoining panels, all play a role in how the compositions are seen. Unlike Martin's quiet grid paintings, Shinnick's works are almost monochromatic, and the absence of colour furthers the sensation of looking at three-dimensional art. The geometric shapes, composed of scratched out lines, at times drawn, are not entirely contained, breaking up, disappearing beyond the edges of the panels. Much in his work is intuitive, and just as much is the result of profound contemplation and great creative maturity. With so few elements to construct an image, his compositions demand a profound understanding of the pictorial.
There is a natural balance in Shinnick's pieces, even the slight torque of the panels, the minute differences in the angles of the lines, all are in service of the artist's vision. Something of a Zen-like simplicity and discipline permeates his works, and it is perhaps this profound, informed silence that makes them so seductive. With the greatest economy of means, Shinnick manages to produce a visual experience of the highest calibre.
Dorota Kozinska, Art Critic, Montréal, 2009