Sean Scully, #7, 1992, aquatint on paper, 312 x 260mm, Tate.
Scully at his most Rothko. While obviously alluding to the Abstract Expressionist's 'windows', the human brain's innate desire to read facial imagery into pure shapes kicks in (I admit, I am thinking of Kang and Kodos from The Simpsons here), and so this is another work from the Heart of Darkness series that suggests a presence rather than a place. It's an act of some mental effort to read it as a location, and even more of one to think in terms of pure abstract forms. Maybe it/s a mistake to give into a figurative reading so easily, but the work does have an eerie totemic presence that I just can't shake. Is this what looks out at you once you have reached the heart of darkness?