Kaye Donachie's paintings are concerned with exploring spaces that reveal hidden or coercive power structures. From within the architecture and sense of place the ordered, secret, ritualistic elements reveal themselves as a web of signs. As part of 'The movement began with a scandal' Donachie has produced new paintings whose source reflect the historiography of the Lenbachhaus Museum and the Blue Rider. They depict the spaces and places where the Blue Rider artists met, worked, collaborated. They display the structures of a series of relations where decisions were made, manifestos written, progress made. Donachie's work is suggestive of a form of patriarchal freemasonry behind these groups. Kandinsky used to tell the story of his enlightenment and movement towards abstraction. On a twighlight evening he visited his studio where he saw one of his figurative paintings lit by moonlight revealing itself as an abstract form. This experience mimics the Masonic ceremony where the initiate moves from darkness to light. Donachie depicts Kandinsky and Klee in a double handshake that is a restaging of Schiller and Goethe's act of kinship. The paintings appear as mediated backdrops to some absent secret narrative that are revealed through the fabric of their respective gestures and architecture.
