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ricks in cement or the process of
out tracks in plywood. Winsor's
recalcitrant; there is an obsessive
she has to wrestle with them -
an work ethic, perhaps. For me, the
have less inherent tension because
rally (though not around itself). On
aight or almost straight lines, grids,
om trees, heavy three-dimensional
m layers of slender lathing, a coiled
inflexible lathing, a central trough
rily from a square of ten sheets of 
hese imply a process which con-
naturalness" of the materials. There-
nce "process" per se was exhausted
el some time ago. And some of the 
cale derives from that kinesthetic
it took to wrap the bound pieces
dent the materials are. Energy sur-
s its fields. While weight and density
rtant, the hidden elements are more
piece, for instance, nine 7' planks
on each face of each plank, is a 
ent of aggression, as is the newest
or hacked and gradually recessed
d square, where, however, each
in to see and feel. In nail piece,
rested in a feeling of concealed
act that each layer has tons of nails
e seen." It also has an autobio-
en she was around nine, her father
nd while he was away at work her
one point, "by father gave me an
ils and left, saying to nail them down
in place. I did....and I used the
to do it. The part he told me to nail
ut a pound of nails. I think I put in
My father had a fit because I'd
ls. They made such a fuss about it
mpression on me." (As did the role
provided for an active female.)
or geometry, in Winsor's work is
v action or by nature, by the ma-
ess' inclinations toward their own
men artists working with geometry
ition (at its extreme, fragmentation),
ir own by using a rectilinear frame-
contradict it, or within which to
us rituals of process or emotive con-
ertain pleasure in proving oneself
or the order that runs the world,
es and angles with "homemade" or
that relate back to the body and
Winsor's bound grid, for example,
the lines are saplings, they are not
al origins are further stressed by the
em forks in the center, so that
at the bottom of the piece and
icating the bound intersections and
he "real grid." The ball-like bind-
e their lumpy and irregular shapes
han others) return a kind of order
ication; they are "all wrapped up,"

sor used is actually hemp, unwound
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