Janet Wheeler: Quarter Sections
In Quarter Sections Janet Wheeler relies on oppositions 鈥� repetition/variation, manmade/natural 鈥� that reference, for example, the repeated but varied segments of an individual leaf or a composer鈥檚 variations on a theme. Her incorporation of a natural element into a formal jeweled palette brings to mind Japanese aesthetic, just as her procession of variation recalls dancers鈥� movements in Asian temple friezes.
On each repeated black shape Wheeler used a varied pattern of colored papers and an added circle of grape vine, the flat shapes of man-made paper a contrast to the natural elements of sculptured vine. While the contour of each piece is equally less than a circle, the parent disc鈥檚 original dimension is echoed in the rounded vine.
Each piece鈥檚 pattern of repetition/variation is again referenced in the artist鈥檚 installation of flow and direction on the gallery鈥檚 walls. This display carries the viewer鈥檚 eye across the shapes, just as one would view a ceremonial procession of apsaras and bodhisattvas dancing with subtle gestures across the facade of an
eastern temple or watch rows of blossoms bending both high and low in a changing breeze.
In Quarter Sections Janet Wheeler relies on oppositions 鈥� repetition/variation, manmade/natural 鈥� that reference, for example, the repeated but varied segments of an individual leaf or a composer鈥檚 variations on a theme. Her incorporation of a natural element into a formal jeweled palette brings to mind Japanese aesthetic, just as her procession of variation recalls dancers鈥� movements in Asian temple friezes.
On each repeated black shape Wheeler used a varied pattern of colored papers and an added circle of grape vine, the flat shapes of man-made paper a contrast to the natural elements of sculptured vine. While the contour of each piece is equally less than a circle, the parent disc鈥檚 original dimension is echoed in the rounded vine.
Each piece鈥檚 pattern of repetition/variation is again referenced in the artist鈥檚 installation of flow and direction on the gallery鈥檚 walls. This display carries the viewer鈥檚 eye across the shapes, just as one would view a ceremonial procession of apsaras and bodhisattvas dancing with subtle gestures across the facade of an
eastern temple or watch rows of blossoms bending both high and low in a changing breeze.
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