As we travel through this thing called life,
we encounter challenging landscapes marked by signs of «FALLING ROCK,» «SLIPPERY WHEN WET», «DETOUR,» or «DO NOT ENTER.»
The human figure and the very particular figure of her husband created a
challenge to one of the core aspects of her approach in the studio — that of doubt that haunts every brush stroke, and something new to her work happens in these portraits that is different than the
encounter with
landscape: in the first portrait of Bill, in the hospital, the overworking or overthinking becomes a powerful expression of the drama of the human body pushed to the limit of survival, where «overworking» is an embodiment of flesh itself in flux.