Bowl reveals the rich essence of Max Gimblett's practice. Unlike many of the artist's other quatrefoil works, its painted surface does not reflect a series of smooth linear curvatures or precisely-cast splatters of paint, but rather, a poetic chaos where varying depths of blue intermingle.

The quatrefoil is steeped in art history and religious iconography, and contains layers of culturally complex meaning. Gimblett's engagement with it as a form both implies and negates the notion of "wholeness", and Bowl serves this end by transforming the act of viewing into one of spiritual and conscious awareness. Within the confines of this sacred exchange, the viewer is invited to enter into a meditative state.

In one sense, this work is concerned with the fundamental nature of painting itself: its gesturality brilliantly explores the distinction between physical and painted form. At the same time, however, it compels awareness of our own gaze, and there is a palpable sense of expectancy to this act of looking. As we find ourselves appreciating the perfection and completeness of that which is already present, we are also anticipating the continuation of form from beyond the edges of where brushstrokes have been interrupted.