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from catalogue "pinky-blacky-browny-white", 2004

1
Her works represent the distance between the starting-point and the ending-point in art. That area which exists only in the human mind; from this point of view I would say that they were conceptual, just as Magritte’s exist in the area
between title & painting. Many of the titles of these pieces have to do with
forms (Island, Basket, Bridge), man-made or natural, which they treat in an
un-form-like manner, highly personalising the given forms which are the most basic common property. As if to say by the title we know where we are. And this
– (the drawing) – is where you are. The general and the individual form of it.
This she has in common with Philip Guston and Louise Bourgeois: a starting
from the mass-situation – individualising it, and that thus associating with
potentially anybody as an individual through the individual’s power of individual imagination.

2
Some of the work is, from a “meaning“ point of view more outlandish than
was just implied, in that titles themselves are no longer common property or
clear structural starting points, but have a resonance in themselves, are self-
contained; they are sometimes “poetic” in their own right being derived from
assonance/alliteration (Ball for All, New House Mouse, Serious Supper), but anyway are dislodged phrases that have broken off from their original context and got stuck in the mind (Southern-Most Tip, North South East). They place the phenomenon of meaning smack in the middle, in that they say that which you see, that equals Southern-Most Tip or Old Ghosts and New Spooks or
Sleeve Society, which takes the surface off of meaning, revealing it as a substance per se, no longer trapped by the local. And thus these pieces have the knack of taking meaning down a few pegs, taking the wind out of ist sails, preventing it getting any big ideas. The piece is like a meaning of the “title“, in a way the ultimate form of definition in the realm of subjectivity. It takes the literary
aspect out of the concept of meaning. (The works have a certain awkwardness
about them, as if they were too big for their size, like a teenager who’s grown up “too quickly”, (as late Guston often has), like note-book sketches which have been enlarged beyond their “rightful” proportions. This is what gives them an unstable and wobbly life of their own, a “larger-than“-life, the exaggeration which art needs, the underlining of reality.) (The appearance of these painted drawings is embracing nothingness, on the verge of existence like the painting of Fautrier in the 1920’s. As if the edges of existence were dissolved. Thus the “unfinished” look whereby the paper/canvas per se plays a big role.)

Chris Newman 28th Nov and 5th Dec 2003