“The painings Fred Pollock has made since the 1980s are characterized by strong, clear colour. Primaries, secondaries and tertiaries are decisively and inventively organised, in dynamic and vibrant relation to each other. The handling is direct, un-virtuosic, almost disarmingly straight-forward. 

At first glance they appear as fragmented colour-wheels thrown into kaleidoscopic, turbulent motion. A longer look reveals a firmly fixed pictorial architecture, with complex activity underpinned by positional certainty. As their underlying strength becomes more apparent, their colour deepens and broadens. Unexpected subtleties are revealed in the wake of a dramatic initial impact. 

These paintings almost inevitability contain hints of nature, of the light and space of the visible world. Yet compared to his peers Alan Gouk or John Hoyland, Pollock’s vision is more resolutely self-contained, more obsessively concerned with the creation of expressive, powerful and affecting abstract images. I have often thought they would be beautiful things to live with, their complexities changing over time and in different lights, a constant yet ever-developing Here and Now.”

— Sam Cornish