Ben Nicholson made March 1962 (Argos) from a piece of board on a wooden mount and painted it with oil paint. The rectangles have been carved into the board’s surface to create the different depths.
Nicholson had always been interested in carpentry. He often made new, or carved into existing picture frames to use for his own paintings. He started carving abstract reliefs in the 1930s, using chisels and other sculptors tools to remove pieces of timber and carve out geometric shapes. His series of white reliefs from this period gave him international fame.
In the 1960s he became interested in the shapes, colours and textures that can be found in nature. Instead of using just white, he often chose natural colours such as moss green or sea blue and welcomed imperfections on the surface. There are dents and scratches all over March 1962 (Argos) that he did not fill or smooth out.
Nicholson spent much time scrubbing and scraping the reliefs, giving each section a different texture. This was often a physically challenging process. When making larger reliefs he placed the artwork on the floor and worked on top of it to reach all areas, using the right amount of force to apply paint and scrape it away again. In March 1962 (Argos) you can see the scrubbing marks particularly clearly in the dark blue rectangle in the middle of the relief.
In order to mark off the different sections, Nicholson carved lines in the board, using techniques similar to making a linocut, where you scratch into the surface. As you can see in this photo from the Tate archive taken by Ben Nicholson’s third wife Felicitas Vogler, he sometimes used razor blades to scrape away the paint and achieve the thinnest incisions.
Not all of the lines in March 1962 (Argos) have been carved. Zoom in on the image to discover how some lines are drawn on using pencil.