Ruth Root’s large scale geometric panels draw from the lineage of non-objective painting. Evoking reference to Piet Mondrian, Ellsworth Kelly, and Olivier Mosset, Root’s playfully orchestrated compositions engage with the fundamental principles of formalism while simultaneously interacting with contemporary modes of interpretation.

Rendered on shaped, ultra-thin aluminium sheeting, Root’s paintings corrupt the idea of pre-fab form. Confined to the curvilinear borders of her canvas, Root’s componentized swatches of colour reveal an unorthodox organic quality transgressing the tradition of the grid as sigmoid fields, and allowing the seamless application of her paint to slightly bevel at the sharply cropped edges. Root’s paintings are often exhibited flush to the gallery walls, creating an allusion to decaled logotypes and an optical intervention with architectural space.

Though primarily concerned with the tautology of painting itself, Root is often inspired by the phenomenon of urban experience. Her bold industrial colours and aesthetically ordered geometries invoke cityscapes, product design, and 1960s technographics. The liminal quality of her paintings elicits dialogue with digitised media: the consummate flatness of her paintings condenses the illusions of solidity and space into virtual fields, compelling in their dynamic assertion and physically insubstantiality.