★★★★ The Times
★★★★ The Scotsman
"Meditation is a good way to describe Clark’s approach because these studies in acrylic, often on aluminium or cradled board panels, oscillate between specificity and universality — and their meaning and substance also change, according to the viewer’s perspective.
From a distance, they often appear as abstracted studies of watery vistas, clouds or shining pools on shore or bog. Up close, they are an intricate merging of tone and texture, overlaid with complex, intricate webs that resemble microscopic or subatomic structures.
There is something deeply, spiritual and, yes, meditative about these intensely thoughtful responses to time and place. They feel as if they have been created from a perspective located within the land, rather than as an external observation of it.
These images are not only about place, but about that much misunderstood word, “soul”. The paintings have a devotional aspect and, in our secular times, that is a rarity and something greatly to be welcomed.
Giles Sutherland, Jan 27th, The Times
"Clark’s work here is considerable, all the more so given her process, the application of detailed webs of paint or tiny marks over rich washes of colour, sometimes on a monumental scale, a process akin to meditation, each one surely the product of many patient hours.
The four largest works, on aluminium panels, have more abstract qualities, or at least have the quality of looking more deeply into something: the muzzy grey-white of haar, the blue-black of deep water. The slow power they exert invites the viewer to slow down too, to think beyond representation into more abstract ideas."
Susan Mansfield, The Scotsman