ARTISTS
Margaret Lee: Tip-of-the-Tongue
The Green Gallery is pleased to present Tip-of-the-Tongue, a series of new paintings by Margaret Lee. This is the artist's fifth exhibition at the gallery continuing a thirteen year relationship. The nine paintings that physically occupy the gallery invite viewers to join the artist in a cognitive place. The works offer an immediate source of visual pleasure. They eschew something immediately namable, suggesting they are on the verge of knowing. As the exhibition title suggests, the work expresses a desire to communicate a pending utterance; not by way of words themselves but via the artist's painterly language.
鈥淭he tip of the tongue鈥� describes anatomy but manifests as a mental quandary. To sit at the tip of the tongue is to negotiate an impossibility. Lee鈥檚 active searching and present attention are coalescing as much as dissolving; felt through paint where her felt shapes linger. Fixed before us, gestural movement wanders butting up against the boundaries of the rectangle. There is containment as much as release, a determined forming to regard.
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The Green Gallery is pleased to present Tip-of-the-Tongue, a series of new paintings by Margaret Lee. This is the artist's fifth exhibition at the gallery continuing a thirteen year relationship. The nine paintings that physically occupy the gallery invite viewers to join the artist in a cognitive place. The works offer an immediate source of visual pleasure. They eschew something immediately namable, suggesting they are on the verge of knowing. As the exhibition title suggests, the work expresses a desire to communicate a pending utterance; not by way of words themselves but via the artist's painterly language.
鈥淭he tip of the tongue鈥� describes anatomy but manifests as a mental quandary. To sit at the tip of the tongue is to negotiate an impossibility. Lee鈥檚 active searching and present attention are coalescing as much as dissolving; felt through paint where her felt shapes linger. Fixed before us, gestural movement wanders butting up against the boundaries of the rectangle. There is containment as much as release, a determined forming to regard.
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