Nevill Johnson: Paint the smell of grass - Eoin O'Brien
Nevill Johnson: Paint the smell of grass - Eoin O'Brien
Nevill Johnson: Paint the smell of grass - Eoin O'Brien
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104 <strong>Nevill</strong> <strong>Johnson</strong> l <strong>Paint</strong> <strong>the</strong> Smell <strong>of</strong> Grass<br />
Enigma 3<br />
The chance effects that arise from collage, its potential to unsettle and also to amuse, suited<br />
<strong>Johnson</strong> so well that he returned to it increasingly throughout <strong>the</strong> 1970s, using it to place<br />
unexpected elements within a work, to create artificial-looking mechanical constructions or<br />
simply to introduce different tones or textures. As his work became more abstract, he began to<br />
create pure collages, with no drawing or painting used alongside <strong>the</strong>m, placing firm blocks <strong>of</strong><br />
colour against each o<strong>the</strong>r as he was doing in his painting.<br />
The Solomon Gallery exhibition <strong>of</strong> 1995 was held at a time when <strong>Johnson</strong>’s work had reached<br />
this extremely advanced point. Due to <strong>the</strong> enthusiasm <strong>of</strong> <strong>Eoin</strong> O’Brien and Suzanne Macdougald,<br />
this exhibition took place despite a waning interest among <strong>the</strong> public and Irish collectors. The range<br />
Woman on a Bench<br />
<strong>Nevill</strong> <strong>Johnson</strong> l London 1978–1999 105
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