JUXTAPOZ – Elise Ferguson: Thresthold @ Shrine, New York
District balance with violations is the guideline principle in Elise FergusonPaints with rich layers. Its intensive operation in the employment begins with the application of multiple tours of the plaster plane on the panels, which are then drawn with incomplete instructions in the graphite to help record multiple tours of silk plaster in frequent engineering designs. The embrace of the imbalance of this system is inevitable and unequal results drinking business with an unexpected texture, energy, and a tangible sense of touch. Although the panels initially appear accurate and make the machine, they quickly reveal the quality of the hand that moves the surfaces and stimulates the surfaces.
By working within the language of abstraction, ELISE Ferguson repeats and restores normative forms such as the musical phrases that are stopped, converted, and skillfully rearranged. Its structures create a rhythm, but they welcomed repulsion and improvisation. The boundaries are blurring, pencil lines zag and staining, and clear shapes that eventually start vibrating movement and narrow edges. The friction between visual clarity and physical reality gives Ferguson a quiet emotional charge and an unexpected resonance that limits the spiritual.
Ferguson’s paintings transmit charm with textiles and also highlight the deep estimate of Shaker designs in the nineteenth century. One drawing in particular, The emblem of the heavenly fieldBy Polly Collins of 1854, Ferguson’s painting inspired, Shaker. It supplied engineering symbolism and repetition in the work of Kulin, the maker of devotion that Ferguson is also directing it in its practice. By bridging its uninterrupted desire to shorten with mechanical clarity, a unique threshold is crossed quietly highlighting the artist’s unique and psychological vision.
