Drawn/Taped/Burned: Abstraction on Paper » Jill Baroff

Jill Baroff on Frank Badur

Rachel Nackman — Wed, 10 Mar 2010 22:41:04 +0000

When do black and white become equivalents? What an idea: that black and white are the same! When black does not divide, but holds a space steady. When it does not break from white to become an image, but rests in animated stillness like a Ryoanji stone. Sequence infers movement from one moment to the next, but here, there is no individual moment; there is only the whole seen from varying perspectives in time.

Suzanne Bocanegra on Jill Baroff

Rachel Nackman — Tue, 09 Mar 2010 22:41:41 +0000

Autumnal Equinox.

The sequencing of the five panels is meant to demonstrate the passing of the season, I think. The panels are swatches, bits of a whole, framed in a line and read from left to right; the grid grows larger as we read. The lines divide and make a whole, in rhythm, like an eye closing and an eye opening.

Then you look closer.

The lines repeat the horizontal and the vertical fibers of the paper. The lines are like a warp and a weft, yet this warp and weft aren’t woven in cloth, but rather drawn – fleshy and pale, somewhat brown, somewhat red. This warp and weft weave the eye. The closer you look, the farther you see – the changes in focus, in scale, in detail. Ever focusing, ever fading.

Jill Baroff on Joan Waltemath

Rachel Nackman — Thu, 07 Jan 2010 16:03:48 +0000

If one were to seek a system, a math, to quantify memory, it might look like this: straight lines and precisely painted interiors that net a rough surface with an uneven edge. Here lies a visual algebraic that formulates Fibonacci and aerial geometry. Least like with like, it arrives at a balanced equation.