Haricot Gallery is delighted to present Love is a Pink Cake; a solo presentation of works by Constance Read. But, before we get started, there is something that you should know. This is not an exhibition about pink cakes. This is not an exhibition about love. It is an exhibition because Constance loves pink cakes (and all things sweet)….and Andy Warhol. We will explain…

 

Love is a Pink Cake takes its name from Andy Warhol and Ralph Thomas Ward’s collaborative body of work (1953). The title is fitting on many levels. Not only because of Constance's admiration and inspiration from Warhol's work, but also Read’s ongoing engagement with silk screen printing, a technique famously popularised by Warhol himself, and lastly, the thematic connection to ‘sweet treats’; a recurring motif in her art. The candy-like appearance of her finished works often recalls sweets, as she observes how the vivid colours and structured forms remind her of such treats. This playful yet nostalgic connection to sweets permeates Read's body of work, as many of her painting titles are inspired by confectionary, with references to films relating to sweets in childhood stories, such as ‘Hansel and Gretel’ and ‘Charlie and the Chocolate Factory’.

 

Read’s work is defined by the use of flat, vibrant colours and precise, clean lines, resulting in distinctive geometric compositions. Her early background in graphic design has significantly shaped her practice, leading her to experiment with geometric abstraction in various ways. Read’s seemingly simple hard-edged shapes on canvas and paper are deceptively complex, as her works explore spatial relationships between compositional elements and utilise negative space to great effect. Rather than focusing on filling the canvas, she emphasises the interplay between form and void, creating a dynamic tension that focuses on what is present and what is left unsaid. Key figures in modern abstraction, such as Josef Albers, Peter Halley, and Bridget Riley have hugely influenced Read’s practice. Their exploration of colour theory, hard-edge painting, and optical effects can be seen in her work.

 

A central theme in Read’s work is her response to the space around her. Her compositions often reflect the interaction of different architectural styles, using geometric shapes to evoke the structural forms found in modern and traditional architecture often found in the city around us. This sensitivity to the architectural landscape—combined with her attention to colour arrangements and hard-edge forms—underscores her interest in how space, both physical and abstract, can be shown through non-representational geometry. Read’s gradient works continue her exploration of colour theory. The process allows her to discover which colour combinations she finds most pleasing, and will continue to work with throughout her practice.