This catalogue was published for the exhibition titled Evidence of Absence by Mark Francis held at Dirimart Nişantaşı on 3 April–3 May 2014.
The catalogue featuring the paintings exhibited in Istanbul is accompanied by a text by David Lillington comparing the art of Francis with the 19th-century Romantic painter Carl Carus. He gives a critical account of Carus versus Francis, an abstract landscape painter of 200 years later. With Mark Francis the ‘pattern’ is in what lies under the ground, under the skin, through the lenses of microscopes or telescopes or on the screens of instruments that reveal the energies of nature, the patterns of sound, the invisible areas of the electro-magnetic spectrum. The effect of his painting can be direct. According to the artist, ‘the dots in the new paintings are based on looking at spectrographs and the vertical bars hint at that.’
The catalogue featuring the paintings exhibited in Istanbul is accompanied by a text by David Lillington comparing the art of Francis with the 19th-century Romantic painter Carl Carus. He gives a critical account of Carus versus Francis, an abstract landscape painter of 200 years later. With Mark Francis the ‘pattern’ is in what lies under the ground, under the skin, through the lenses of microscopes or telescopes or on the screens of instruments that reveal the energies of nature, the patterns of sound, the invisible areas of the electro-magnetic spectrum. The effect of his painting can be direct. According to the artist, ‘the dots in the new paintings are based on looking at spectrographs and the vertical bars hint at that.’
