Northern Painting, 1960

David Burnett and Marilyn Schiff, Contemporary Canadian Art, Edmonton, 1983, pages 124-25

Bates experimented with abstraction in the 1960s as a response to the growing popularity of non-objective painting. Residing in Calgary during this period, Bates was far removed from the centres of abstract painting in Canada, and as such, much of his abstract works were an exploration of non-objective painting rather than a response to rigid doctrine. A close friendship was formed with Jock Macdonald and the influence of his automatic painting and early abstract exploration had an impact on Bates's own practice. In “Northern Painting”, the artist has let the medium take control of the compositional outcome with the strategic placement of line as the drips form a cube-like grid from the the initial stroke of pigment. Still maintaining his penchant for bright expressive colours, the vibrant blue and red employed creates a harmonious all-over energy. Though a more fleeting period for Bates, this exploration speaks to the growing trend and importance of abstract painting in Canada. Moreover, Bates' contribution also tells of a certain regionality of art centres within Canada and the distinctive styles which emerged as a result, enriching the overarching dialogue of Canadian art history.