Barbara Campbell Thomas blogs about the recent exhibition Hilma af Klint: Painting The Unseen at Serpentine Gallery, London.

Thomas writes that “[af Klint’s] paintings have a warm and engaging precision, an orderly structure qualified by traces of a clumsy hand, alternately luminous and muddy coloration, and her awkwardly drawn representational imagery. It is their particular brand of full-bodied meticulousness that first caught my devotion. Additionally, af Klint’s paintings forcefully pronounce their inevitability with force; painting after painting seems unable to be anything other than what it is, as though the earth opened up and spit out these the images fully formed, as a gesture of good will toward all of humanity.”