1944 - N No. 1 (PH - 235) shows Still having made a canvas of complete abstraction, using layers of
black pigment cut with a deep red outline, a hint of vivid yellow, a drip almost of white and in the lower right corner, an emerald green.
Not exact matches
The surfaces in the recent work from 2013 — 14 reveals more literal variations of
black pigment, often utilizing an uncompromising matt underpainting as a support for glossy
black on top; or, alternatively, light refracting from severe
cuts into a hardened density of
pigment, unequaled in works associated with subsequent modes of pastiche used in some overworked paintings associated with painters of The New York School in the turbulent late fifties.
By pouring her acrylic
pigments (she works almost solely with
black and white) directly onto glass and letting them dry there, she can then slice into the
pigment and, having
cut out a cartouche or a length of filigree, can carefully lift that segment of limp paint from the glass and position it upon the canvas.
Using thick,
black pigment he troweled a large canvas (105 x 92 1/2 inches) with a palette knife, then
cut that textured
black field with a deep red wound forming the outline of an almost organic shape.