A fresh and visionary exhibition, IN FORMA celebrates a renewed vibrancy in geometric abstract art at this contemporary moment. Bringing together artists from disparate continents with diverse processes, some of whom are showing in London for the very first time, curators Victoria Law and Karen Tronel elegantly demonstrate the true breadth of abstraction within contemporary art practices. After years on the sidelines, this show makes an argument for the dramatic return of geometric abstract art and contributes to this work finding its natural place within the contemporary art landscape.

Geometric Abstraction began with a single masterpiece: Kasimir Malevich's !Black Square"#a single shape that became the springboard for a movement which continues to excite us today. Whilst early practitioners worked with simple shapes and mathematically defined systems, the artists in the current show demonstrate the sheer range of possibilities. They pursue hugely varied but interconnected threads of inquiry as they experiment with both form and process, demonstrating a playful new attitude.

Within this vibrant mix of practices, we find artworks that stretch the rigid expectations of the legacy of Geometric Abstraction. Renowned sculptor Paul de Monchaux brings an intuitive mindset and a creative imagination to play. Inspired by organic forms, his sculptural work “Volute III” (2013) celebrates the inherent elegance of geometric form to contemplative effect. Maria Wallenstål-Schoenberg’s works in oil on canvas engage in a compelling dialogue with his sculpture. Building chromatic layers intuitively, Wallenstål-Schoenberg similarly inspires a profound meditative response in her viewer by pursuing a delicate equilibrium through the interaction of curved geometric forms.

A bold and generous approach to colour is a stand out feature of the show. Working freehand to create his grids, Gabriel Seijas, one of the most exciting recent graduates of the École des Beaux-Arts in Paris, infuses the entire exhibition with vibrant colourful harmonies. His painting resonates with the interlocking dynamic forms and colours of Heike Kelter’s works in ink and acrylic on canvas. She brings a tension and dynamism to the space despite the disarming simplicity of her composition. Japanese artist Masako Iwamoto’s small and meticulously balanced canvases by contrast bring harmony. Inspired by nature, Iwamoto employs form and colour to evoke universally understood sensations.

In contrast, Japanese artist Minori Oga’s series of works rely on the drama and impact of restrained colour tones and bold brushstrokes. Exploring the ebb and flow of rhythm and speed, she employs spatulas and brushes specific to lacquer work as her painting tools. It is fascinating to see her practice set alongside conceptual works on canvas by Karen Tronel. “Access Only” (2020) for example, a subtly subversive work, explores the dynamism of the grid structure reimagined as a maze, with the witty addition of a golden egg to the canvas.

One stand out feature of the show is the sheer variety of materials and processes employed by the artists throughout. One of the most dramatic departures from traditional techniques is demonstrated by Peter Zimmermann’s works in epoxy resin. Starting with digital manipulation, he builds layer upon layer of this opaque, shimmering material to create impressive dimensionality. Sculpted from reclaimed and sourced human-made objects, Tim Ellis’ work is equally fascinating for its contemporary update on established techniques. His totemic sculptures combine disparate objects from stones to scrap metal, riffing on a theme whilst bringing to it additional layers of functionality and meaning.

Together, the works in this remarkable exhibition contribute a fresh perspective on contemporary art practice. The show concerns itself with looking past simplicity to discover the complexity of abstract art today, enjoying the elusive and critical nature of contemporary non-objective work in all its variety. Each artist’s contribution feels vital and significant. The exhibition demonstrates the considerable impact of abstract art, which speaks to its viewer intuitively, exploring the sublime whilst also bringing new perspectives to our everyday existence.

Text by Kate Neave