I’m al­ways torn be­tween ex­plain­ing what my in­spi­ra­tion was and hear­ing other peo­ple’s in­ter­pre­ta­tions. Some peo­ple look at it as a med­i­ta­tion. Then a friend of mine said some­thing about a wait­ing room to go on to the next place, but not nec­es­sar­ily a good

Pasatiempo - - TERRELL’S TUNE-UP -

The fences are all front and cen­ter, ren­dered with min­i­mal back­grounds that bear only traces of sur­round­ing land­scapes. Some paint­ings have sug­ges­tions of moun­tains in the back­ground and oth­ers don’t, but the fo­cus is not on the set­ting so much as it is on the feel­ing the pens con­vey. She went through stages while cre­at­ing the se­ries, in­flu­enced, in part, by what was hap­pen­ing in late 2016 in na­tional pol­i­tics. “I started us­ing color schemes from the flags of dif­fer­ent con­tro­ver­sial coun­tries after the elec­tion,” she said. “I was us­ing the col­ors of the rain­bow flag in one of them, and I was do­ing Rus­sian flag col­ors. So all of sud­den, my state­ments were chang­ing and there were un­der­ly­ing mean­ings. There’s a black-and­white one. It’s very stark, with a white cor­ral. That’s the first one I did after the elec­tion. I couldn’t feel the love of the color at that point. I want my work to ask ques­tions. I don’t nec­es­sar­ily want to give an­swers. And I want to talk about all sub­jects. Life and death.”

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