Philip Perkins - Akasa, for Nate, Nashville '65

The work draws on an Informal aesthetic language. The devastation wrought by the Second World War left a profound mark on Western civilization, which in the visual arts also resulted in an inability to communicate. For some artists, this challenge led to a total rejection of any visual language, resulting in the birth of Informal Art. Among the various Informal movements, those linked to the American Abstract Expressionist movement stand out, within which the gestural and material component in the composition of works was particularly developed. In this regard, the practice of action painting, in which paint was thrown onto the canvas, allowed to drip or flow spontaneously, became extremely popular. Jackson Pollock was its most illustrious exponent.

This work is an example of Philip Perkins's artistic production in the late 1960s. Perkins's informal art develops through a perceptive exercise. The artist begins by acquiring sensory data and reworks it according to his highly personal sensibility. Thus, his vision of the world definitively loses all contact with phenomenal reality, translating into a pure transposition of matter and gesture. Philip Perkins maintains a certain geometric spirit, but this leads him to completely disintegrate form and translate his perception directly into pictorial gesture. In this painting, the artist is able to create a chromatic material that seems alive, dynamic, and constantly evolving. In the intensity of colors that merge into a living organism, existence pulsates in bright, sudden flashes.

Philip Perkins was an American artist born in Waverly in 1907 and died in Nashville in 1970. From his small town in western Tennessee, Philip Perkins became a widely recognized abstract painter. He is best known for his geometric, Cubist-influenced work of the 1940s. During the 1950s, his work was more influenced by Abstract Expressionism, with more spontaneous brushstrokes and less distinct forms. It was in the 1950s that he also began a series of religious works in a semi-abstract style. By the late 1960s, his paintings were leaning more toward Art Informel.

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