The lush field of a void.
Roni Horn’s small drawing from 1985 is a field of deep red pigment, embedded with an even darker red. A searing white form penetrates the field from below. The drawing could be read as a narrative, but not only in this way.
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From a distance the uniform yet undulating waves in Lynne Woods Turner’s graphite and tea-stained drawing appear soft and delicate. Underlying the waves, a precisely gridded structure is not initially apparent, but as one comes in closer or zooms in, a penciled-in pattern of circles constructed along a grid can be seen to account for the movement within the waves.
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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.
Look closer…