For Robert Davidovitz the canon of painting is not venerable, but rather is a material to be cut and woven together as he sees fit. Davidovitz marries the aesthetics of post-war painting and fibre-arts through a technique he calls “woven paint”. The artist forms paint into filaments, long strands which he weaves into intricate patterns. His practice subverts not only the materiality of painting and textiles, but also the gender conventions of these media. By merging the aesthetics from the largely masculine history of modern abstraction and the traditions of weaving, he arrives at a new and inclusive conversation in painting. The resulting tactile surfaces often reference optical and geometric art, with attention to pattern, structure and space.