A striking 1970 screenprint by Patrick Heron, exploring the interaction of colour and form through layered blue shapes.

Patrick Heron was a central figure in the development of British abstraction during the mid-twentieth century. Based in St Ives, Cornwall, Heron drew inspiration from the quality of light and the coastal environment, though his work remained firmly rooted in the exploration of colour and form. Four Blues Two Discs, produced in 1970, demonstrates his preoccupation with the interaction of chromatic planes. The composition relies on the juxtaposition of varying blue tones. Heron uses flat, non-representational shapes to create a sense of spatial tension. The two circular forms, or discs, appear to float against a larger, darker blue field. By layering these shapes, Heron forces the viewer to consider how colour affects the perception of depth and distance on a two-dimensional surface. The edges of the forms are soft yet deliberate, avoiding the rigid geometry often associated with hard-edge painting. Heron believed that colour was the primary subject of painting. In this screenprint, the absence of narrative allows the viewer to focus entirely on the relationship between the different shades of blue. The work is an exercise in balance and optical resonance. The darker, saturated background provides a stable foundation, while the lighter, more luminous discs create a sense of movement. This piece reflects the artist's mature style, where he moved away from earlier, more gestural marks toward a cleaner, more controlled application of pigment. The screenprint medium allows for a flat, uniform surface, which further emphasises the purity of the colour fields. By stripping away extraneous detail, Heron invites a direct engagement with the physical properties of the ink and the paper, creating an experience that is both immediate and contemplative.