INTRODUCTION
Welcome to VSA Massachusetts' Open Door Gallery, presently featuring the artwork of Kimball Anderson, an artist whose experiences of chronic fatigue syndrome and agoraphobia inform the art he creates. The exhibit explores the separation of self and environment.
The show is titled "Inside/Outside" and his artwork reflects themes of isolation, identity, inaction, and first person experience, and seeks for a sort of peacefulness. The exhibit is comprised of 37 pieces in two distinct areas, first being the walls of VSA of Massachusetts' offices, also known as the Open Door Gallery, and second in the hallway that is to the left of the reception desk by the front entrance of the building, which runs straight back to the courtyard.
The Open Door Gallery will be defined by eight areas, identified moving left to right as you enter through the double glass doors from the lobby. Upon entering, you face the wall directly opposite the glass doors. This is identified as Wall 1.
To the right, beyond the end of that wall, WALL 2 goes straight back. The right end of WALL 2 comes to a corner, meeting a wall which goes to the right. The length of this wall is broken into two sections. The first section, designated as WALL 3 runs for 15 feet. The second section of the same wall is recessed by about 6 inches and continues on another 12 feet. This is identified as WALL 4.
To the right of that, the wall at the far end of the room is comprised of large floor to ceiling windows. This will be defined as the WINDOW area, with 3 pieces there, one to the left and one to the right of the first window, and one on the column to the right of that. Continuing to the right of the window brings you to the OFFICE area. 3 pieces are in a row on the wall over the director's desk.
Leaving the office, back towards the double door entrance, on the left is WALL 5 - 1 piece to the left of the flat doors, 1 piece to the right of the doors.
In the lobby, to the left of the reception desk, a long hallway has artwork on either side. Facing the hallway, pointed towards the courtyard, the numbering starts at the right and continues right to left down the right-side wall and then returns on the opposite side, again numbered right to left. Spacings of the hallway walls are defined as HALL 1 and HALL 2 on the right, HALL 3 and 4 on the left.
As you move through the exhibit, left to right in the Gallery, right to left down the Hall, the artworks will be numbered consecutively, 1 through 37.
Some background on Kimball Anderson and his work: Anderson's art reflects the period when he began to overcome agoraphobia and enter the world. It explores the quiet and the gentle, while searching for something ambiguous underneath. Anderson uses primarily pencil, watercolor, and acrylic to create intimate drawings of people, landscapes, and objects, and has created a body of short and long form comics. His work has been shown on the South Shore and in Boston.
In the artist's words, the experience of agoraphobia is very much about comfort and safety. His art reflects a quiet that is not separated from anxious avoidance and his own pushing of the boundaries of his comfort. Many of the scenes are indoors, featuring quiet spaces and parts of his own body. Other scenes are outdoors and focus mostly on trees, which are stable parts of the landscape that help the artist cope with being in the hectic outside world.
In his artwork, Anderson uses muted colors - primarily white, gray, light blue, and beige. The art is both abstract and realistic. Many of the works are small images of parts of bodies in close view, such as hands, a mouth, eyes, or feet. His quiet landscapes feature trees almost exclusively, showing bare branches reaching into the sky. Some of his comics are abstract, while some feature characters moving through scenes, interspersed with text. In general, his work has a soft, sketched quality to it. Pastel washes of watercolor are contained by thin pencil lines to create forms. The images are personal, emotional, and evocative.
All works are on paper, and framed. A white sticker with the title, medium, and price appears below and to the right of each piece.
WALL 1, PIECE 1
Safe Zone 2
Pencil, watercolor & acrylic, on yupo paper & watercolor paper
25.5" x 39.5" / 26" x 40" framed
$650
To the left, at eye level, the title of the show, "INSIDE/ OUTSIDE" in uppercase charcoal letters reads on two lines. Below, the artist's name appears in smaller, upper case letters in pale turquoise. A single piece of art hangs to the right of the title of the show. The work is framed in brushed silver metal flush to the art. The piece shows an aerial view of a room, the overall tone soft and quiet. A faint wash in light grey covers two-thirds of the drawing, and is cut into by a trapezoid of light greens detailing a tiled floor, which rises from the bottom, and slants up to the right. A pair of bare feet, tinged pink, seen from above, appear on the bottom portion of the tile, legs cropped by the paper's edge. Above right on the tile, black shoes and pants, facing the feet, are also seen from above. A soft triangle of lines jut from the upper left side, intersected by a drawing of a wooden table leg, detailed with circles on its joints.
WALL 2
Three drawings, each matted in charcoal gray, and framed with brushed silver, are spaced approximately a foot apart.
WALL 2, PIECE 2
A Face Like
Pencil & watercolor on yupo paper
6.5" x 3.5" / 10" x 8.5" framed
$180
Composed of fluid curves and soft shapes, the image is an intimate close-up of a person, mostly in shadow. We see the lower portion of the subject's face, the neck, the shoulder, cropped by the mat's white bevel. The subject is facing left, perhaps looking over the shoulder. From the left edge, a line curves up to the top right, creating the chin, shaded by diagonal pencil marks. Below, we see the white neck, with 3 lines on the right edge creating the neck's soft folds. The shoulder is shaded with broad pencil strokes, lightened here and there, and fills the bottom two thirds of the image. Splatters of light orange highlight the shoulder and cheek, hints of pink and blue dance over the jaw and throat, light blue peeks from behind the neck, giving life to the white skin.
WALL 2, PIECE 3
And what
Pencil & watercolor on watercolor paper
11.5" x 6.5" / 17.5" x 12" framed
$250
A cropped closeup of a face, shoulder and chest, turned to the right. The face covers the upper left portion. Light gray curves create the nose, a nostril, the soft lines above the parted lips, washed lightly in pink, revealing teeth and tongue. The chin is nestled within the upper body, a faint gray wash covers the chest area, the line of the left shoulder giving way to an amorphous negative space.
WALL 2, PIECE 4
On the bed
Pencil & watercolor
4.5" x 8.5" / 13.5" x 10" framed
$210
Two small images, one on top of the other, both double matted, a quarter inch of a soft rose color beveled in white shows below the charcoal mat. In the upper left of the top image, we see a drawing of a portion of a face turned to the right, showing only a pair of lips, the lower lip lightly washed in pink, and a chin covered in gray shadow. A soft creased hand, with cropped wrist reaches out from the bottom of the image and fills most of the frame, holds the subject's chin in contemplative gesture. The top of the ring finger pressed lightly against the lips, pinky with highlighted nail curled to the right of the mouth, the top of the palm in brownish gray shadow. To the right of the hand, we see a slice of negative space in gray watercolor.
The lower image is of an off-white cropped nude, softly shaded, seated in two-thirds of the left side of the picture. The body is turned to the right, and viewed from its side, its leg jutting diagonally out from the bottom to the right, bending at the knee in the middle of the image. A slightly curved line extending from the top middle and bending back up creates an arm which stops at the elbow, and rests on the knee of the bent leg. Four small, curved lines create the soft folds of the chest and the belly. The intersection of the body and thigh creates a shaded opening which reveals the ankle, and a portion of the left leg and a small, delicately drawn hand, its fingers pointing down, cut off by a sliver of bed. To the right of the elbow, a line intersects at the elbow and knee, creating a bed, covered in brown, the portion under the thigh in shadow. The artist's name in small cursive writing appears along the lower right edge of the piece.
WALL 3, PIECE 5
Back
Pencil & watercolor on yupo paper
5.5" x 6" / 11.5" x 12" framed
$190
The work is mounted on a black mat. A light brown mat with a white bevel sits on top, revealing a quarter inch of the black beneath. Standing in the center of a hand drawn box is a shirtless man, seen from behind, and cropped at the top of his head, and below, at the belt loops and wrists. The right line of the box slants down to the left, creating an irregular shape. The piece is predominantly white, though there is a shadow on the left side of the back, inner left arm, and left side of the head. A dark triangle of shadow creates the crease of the man's back, two small dark marks create his elbows. A light blue stripe colors the pants, small bits of light blue and brown wash appear on the mostly white skin. The artist's signature appears along the right edge, near the bottom.
WALL 3, PIECE 6
Quiet
Pencil & watercolor on watercolor paper
5.5" x 5" / 12" x 12" framed
$190
Matted in cream are small horizontal pieces, side by side, but separated by a quarter inch of black background, which also frames the two images. The first image is of the back of a crouching nude man, viewed from above. He crouches closer to the bottom of the image, cropped at the left foot. His hair is black, and his head tilted to show the back of his ear, and the pink skin below it. His left arm is visible and extended, raising his left shoulder, which is created by a left facing curve, and is highlighted by the white paper showing through. His arm, leg and back are tinted in pinks and flesh tones, bits of blue appear in the shadows. A J shaped curve runs down the middle of his back. The bottom right of his body is in shadow. A faint shadow appears below his right side. 2 dots of light gray wash appears in the blank space above, and a diagonal splash of wash appears at the right of the figure's shadow.
The second image is of the back of a nude's legs, viewed from the right, extending from the top center of the piece, and ending halfway down the page. The body is turned to the right, so the left leg appears slightly higher than the right. The front of the left thigh is shaded, the back of both thighs are shaded on the left side. The toe of the left foot meets the line of the right calf, and forms a curvy triangle of space above. The backs of the legs are colored in soft blue and green, the feet are tinted with pink. In the blank half of space below, a small wave of light gray wash sits above the artist's tiny signature on the lower right edge.
WALL 3, PIECE 7
Lucas
Pencil & watercolor on watercolor paper
4.5" x 8.5" / 10" x 13.5" framed
$210
Framed in brushed gold, and double matted: the outer mat a creamy beige, the inner mat a dark grayish brown, both pulling on the colors within the piece. The image is of a person viewed from above, lying on an expanse of light brown fabric. The top part of the figure's chest emerges from the right side, positioning his head in the lower right quadrant. His hair is short and dark, his features pink. The subject's face is turned toward the bottom of the image, eyes half open, lips slightly parted. His left arm is raised and bent over his head, his hand reaching the bottom of the image at left center, visually creating a triangular shape. The white skin of the arm is in contrast to the dark shadow below it. The right hand appears out of the bottom middle, and lies on top of the left. Both hands are palm up, with fingers curled.
WALL 3, PIECE 8
Lucas' Hands
Pencil, & watercolor on watercolor paper
8" x 11.5" / 14" x 17.5" framed
$270
From the top left to the middle right, two wrists and hands reach across the image, fingers entwined, pinkies toward the top, thumbs below. Positioned off-center left, the hands lay across an inverted torso, which is angled to the right. An upside down triangle of patterned fabric in the left top, and a tall irregular rectangle of the same pattern in the upper right define the edges of the waist, and wrists which lay on top. The chest area fills the the entire bottom space of the image below the hands. The subject's body is colored in soft pink and tan, the fingers are articulated with white highlights, their knuckles shaded in dark pinks and grays. A dark rose color appears in the crevice of the left thumb and forefinger, and is echoed by a tiny spot on the fabric. A shadow runs beneath the wrists and hands, and trails the full length of the chest, forming a soft, upside down mound in the area below the hands.
WALL 3, PIECE 9
Heels
Pencil, watercolor, & white charcoal on watercolor paper
7" x 7" / 12" x 12" framed
$240
A square painting with a white mat, and framed in black. From behind, we see a pair of bare feet standing on a wood floor so that we are looking directly at the person's heels. The image cuts off at the ankles, and only half of the right foot is within the frame. The left heel is raised so that only the ball of the person's left foot rests on the floor. The dark gray shadow created by the raised heel lays over the brown watercolor of the floor like a pool of water, reflecting the gray of the sole of the foot above. Both feet are shaded with gray and highlighted with white, beige, and pale green. The heel of the left foot is rimmed with pale pink, which stands out as the brightest point of color. Sketched lines of pencil outline the feet and ankles. Above the wood floor, the background is a wash of gray, with the shadowy form of an office chair just visible in a darker tone. The artist's signature is in small print at the edge of the right heel.
WALL 3, PIECE 10
A sweet boy
Pencil & watercolor on watercolor paper
7" x 4.5" / 13" x 10.5" framed
$180
Two drawings, one above the other. The top image, which is smaller than the first, features a pair of knees seen from the front, cropped just below and just above. They are shaded with gray pencil and pink and orange watercolor. The legs' soft edges curve gently against the pure white background. The bottom larger image, shows the shoulder and head of a man from the front. His head is turned down and away to his right, with his right arm reaching up to the far side of his face, as if rubbing his eye. His torso is bare, shaded with gray and highlighted with white and soft pink. His hair is a tousle of gray streaked with orange watercolor, and his face, with eyes closed, is in shadow. The background is a patch of dark gray-blue watercolor, which hovers at the edges of the paper and the man, leaving a wavering border of white around both.
WALL 4, PIECE 11
Static
Pencil, watercolor, & acrylic on yupo paper
9" x 9" / 13.5" x 16" framed
$250
In a blonde wood frame are two images, side by side, with the left image positioned about an inch higher than the right one on top of a dark gray mat. A beige mat frames both pieces. The two images feature cropped portions of the right side of a man's head. The image on the left shows the back of the man's head in profile, prominently featuring his ear. Gray is the primary color, as his neck, ear, hair, and shirt are shaded with pencil, but patches of color shine through as well. At the nape of the man's neck, his shirt is highlighted with deep blue and his neck is touched with yellow. Hints of pink watercolor bring the ear to life, and the man's dark hair, which curls around his ear, is flecked with the same pink as well as some brown. The background, seen in the upper left corner, is abstract: white with horizontal lines of quickly drawn pencil, and spots of gray watercolor that look like drops of water on a pane of glass.
The second image, on the right, is a close up of the man's mouth and chin, also in profile. He rests his head on his left hand, so that his chin rests in the palm of his hand and his fingers are curled against his mouth, with the pinky finger visible. The drawing cuts off just below the man's eye at the top, just before the tip of his nose at the right, and in the middle of his cheek at the left. This drawing contains more color than the first, the same blue, pink, and yellow shading his face and shirt. Unlike the first section, which is just pencil and watercolor, this section was done with a layering technique using acrylic. Pale pink and light yellow acrylic was painted over the pencil lines and bits of watercolor of his face, then chipped away at certain places, such as the cheekbone, side of the nose, and wrist bone to show the white paper and pencil lines underneath, creating a realistic texture to the skin. More acrylic was added at the shaded areas, however, with darker gray shading under his eye and around his mouth and fingers, with darker red paint tinting his lips. His shirt, in shadow under his chin, is painted with black and deep blue acrylic that was then scratched away to show gray watercolor and white underneath.
WALL 4, PIECE 12
Limbs
Pencil, watercolor, & ink on watercolor paper
4.5" x 10.5" / 11.5" x 17" framed
$200
Mounted on black, and surrounded by white matting, this piece is in two parts. Both are the same height, but the section on the left is the wider of the two. In an abstracted style, the limbs appear bone-like. A closer look at the right image reveals an arm lying across a pale yellow plane, which appears to be a bed. The edge of the bed slopes at a gentle angle up from left to right across the middle of the piece. The arm, which is white and shaded with gray pencil, is in lower left part of the drawing, and creates a steeper angle sloping up left to right. The elbow is at the lower left corner, drawn as if the person were lying on their stomach with arm outstretched, and the hand draped over the edge of the bed. The arm and bed are outlined with black ink, with a few more small lines of ink to indicate shape and depth of the elbow, the arm and its shadow across the bed. Lighter gray pencil is used to shade the arm and sections of the bed, creating a soft texture. The background in the upper half of the image is washed with a pale blue.
The section on the right contains a cropped image of two feet and shins below the knee. They are drawn from the side, as if the person is facing to the left. The right foot, which is pointed down, is raised above the left - we see the heel, the arch of the foot, and the ankle, but the image cuts off before the toes and the rest of the shin. The left foot and shin are seen more fully, although the calf, tips of the toes, heel, and bottom of the foot are cropped out. The foot is parallel to the bottom edge of the frame and the shin, perpendicular to the foot, fills the right edge. The outline of the shin, ankle, and top of the foot creates a graceful S curve, which mirrors the curve of the right heel above and to the left of it. Like in the first section, black ink is used to outline the feet and legs and indicate shape and shadow. The limbs are white except for light gray shading, and the background is a wash of pale green watercolor.
WALL 4, PIECE 13
Eh.
Pencil & watercolor on watercolor paper
6" x 11" / 12" x 17" framed
$200
Framed in black, matted in white, and mounted on black background. The paper is blank except for a square, drawn imprecisely with quick pencil lines. Within this rough square, we see most of a man's head and his right arm. His right arm reaches up behind his head so that his hand rests against the base of his skull and his elbow points up. His head is angled down and to the right so that we can see a bit of his right ear and the curve of his cheek. The man's face and arm are sketched with gray pencil lines and shaded with faint beige, pink, and gray. His hair is dark and tousled, filled in with gray and a touch of brown. In the background is wooden molding that may be the top of a door frame or the top of a headboard to a bed. The decorative molding and wood below is colored with brown watercolor, and peeks over the top of his head and runs parallel to the bottom of the frame to the right. The rest of the background, to the left and upper right, is a wash of pale turquoise watercolor, with a small bright rectangle of turquoise showing the shadow of the wood molding against the wall.
WALL 4, PIECE 14
Four
Pencil & watercolor on yupo paper
10" x 8" / 16.5" x 15" framed
$260
This piece is comprised of four small images: three are in a column formation on the left side, one is on the right, centered. Framed in black, the piece is double matted - beneath the top off-white mat is a reveal of dark blue mat - and the four images are mounted on black background. Prominent colors of the piece are the white of paper, black, dark blue, and splashes of ochre.
The top-left image is a person's left eye, with lid closed, cropped below brow bone. Diagonal pencil lines create shadow in corner of eye by bridge of nose. Light marks create a flutter of lashes. Lightly-drawn horizontal lines create the shaded left edge of the face. A tiny gray triangle at the bottom topped with diagonal lines create the cropped bottom of a nose.
The center image in the left column contains an abstracted white shape on the left, and a blue splash to the right. Closer inspection of the simply drawn details within the shape reveals an ear, a neck stretching, and face turned upward.
The bottom panel of the left column shows the back of a neck, formed by a series of t-shaped lines. A long, unbroken line beginning at the left below the neck, moves right and creates the shoulder and upper arm. Another line, coming from below, extends up to create the intersection of the inner arm and back. Light, diagonal pencil marks and a speckle of blue wash create a soft shadow on the top of the back and shoulder, faint tan spots mark the center of the back. Splatters of blue line line the body and splashes into the white space on the right. The artist's name appears at the lower right.
The only drawing in the right column depicts a drawn hand, palm down and cropped at the wrist, reaching out from the left side of the piece. The wrist is spotted in a light wash of brown, and points down slightly, and the hand bends upward. Extending toward the right, the top portion of the pinky, the ring and middle finger. The forefinger is slightly flexed, and creates a V shape between it and the middle finger. The top of the thumb is curled under. There is a spot of blue below the wrist, and a blue splash at the base of the thumb, dotting off to the right.
WINDOW AREA, PIECE 15
I Don't Get It, pp 1-5
Pencil, watercolor, white charcoal, & crayon on watercolor paper
33.5" x 11" / 37" x 15" framed
$400
A series of five panels from the artist's comic "I Don't Get it" framed together vertically. Contained within each piece are boxes and text, drawn in pencil. There is space between the boxes, but they are visually connected by the top and lower bottom lines. The piece depicts a conversation between two speakers, coded visually: one speaker is represented by black pen written on top of the wash, and the other speaker represented with pencil words written in the blank spaces between the wash.
The top row features an image with four drawn boxes. Two vertical rectangular boxes on left and right, two smaller stacked squared boxes in the middle. Handwritten text in the center of the first box reads, "No, I am up for it. What's on your mind?" In the middle row, in the space between the two boxes, text reads, "You sure?" Text in the center of last box reads, "I wouldn't say it if it wasn't true." Each box has a wash of muted color. The rectangles on the right and left contain soft light and dark grays, dabbed with light brown; the colors fill most of the box. The middle squares contain blurred grays and light touches of white.
The next piece below consists of six boxes, two rows of three boxes each. Between the rows, beneath the first box, written text reads, "Yeah. So I was. I went to visit a friend." Below the second box, text reads, "Jill." Below the third box, "I mentioned her a week or two ago, she's the one who stayed back at the lake." The predominant color is dark grey, obscured by white. In all but the top left square, reddish brown color appears in slashes and dabs.
The middle piece is comprised of five boxes. From the left a tall, loosely drawn rectangle, then two stacked squares in the middle, followed by two small, stacked, horizontal rectangles. The overall feeling is that of a dark gray image, detailed with brown, trying to push through, but completely obfuscated by a fog of white. The text in the middle of the first frame says "Ah, right. You were worried about her." To the right of the rectangle, in the space between the two squares reads, "I guess." To the far right, between the two rectangles reads, "I am always thinking when we talk 'is this like old times?' "
The fourth piece in the frame consists of six drawn boxes, two rows of three in each row. The two boxes on the left and the two in the middle are more square, while the two boxes on the right are more rectangular. In the space between the left set of boxes, text reads, "Never in the moment." Between the middle set of boxes: "I tried to talk to her about her life now." In the space between the last set of boxes, "But she always seems to be at a distance." Puffs of brown wash are shaded with gray and black, and veiled in white.
The bottom piece contains five boxes, a tall rectangle on the left, two stacked boxes in the middle, two stacked boxes on the right. Text through the middle of the first box reads, "Aloof?" In between the two middle boxes, text reads, "No, like. Like she always knows something I don't." Between the last two boxes, the words, "She is always leading me to the conclusion she already came to." The first box is filled with a light brown and gray wash, with dark pencil marks appearing in the upper half. In the middle set of boxes, a dark gray shape cuts through the middle of the wash like a tiny tornado. The last set of boxes begin to clear, showing more of the white of the paper, the wash pushed to the sides, leaving spots of brown behind.
WINDOW AREA, PIECE 16
I Don't Get It, pp 40-44
Pencil, watercolor, white charcoal, & crayon on watercolor paper
33.5" x 11" / 37" x 15" framed
$400
A series of five panels from the artist's comic "I Don't Get it" framed together vertically. Contained within each piece are hand-drawn boxes and text, with space surrounding each of the boxes. Amorphous, gray shapes are scattered throughout the framed work. The upper left top box is nearly filled with dark wash, save for a wavy stripe of background, lightly penciled, cutting through the middle, top to bottom. In the lower left box, the background dominates; the dark wash is limited to the left side. The two remaining boxes consist of daubs of gray, faint diagonal pencil marks and light brown wash. Again, the piece depicts a conversation between two speakers, coded visually: one speaker is represented by black pen written on top of the wash (here bold), and the other speaker represented with pencil words written in the blank spaces between the wash (here italic).
In the space between the two boxes on the left, text reads, "Who do you think I am?"
Through the center of the next box, the text replies, "I don't do affirmations."
The third box reads on two lines, "I want you to move forward, not just feel better."
The second piece from the top contains six squat rectangles, two rows, three in each row, and features dark gray and black shapes moving around the boxes. The bottom left box contains a rounded black shape, highlighted in white, with a donut-like hole in the middle. The left two boxes contain dabs of brown.
Between the first set of boxes on the left, drawn text reads, "Yes, I guess I think I am capable."
Between the middle set of boxes, the text reads, "I think I could do a lot of things well."
In the space between the last set of boxes on the right, the words say, "I remember seeing Jill in the classroom. Oh, uh, she teaches."
The middle piece consists of five drawn boxes: two squarish boxes on the left, two squat rectangles in the middle, one upright rectangle on the right. The dark shapes in this piece are elongated, and softened with white.
In the space between the two left boxes, text reads, "I could do that."
In the space between the middle boxes, the words read, "If someone would give me the chance." Through the center of the box on the right, the words reply, "Why do you think they won't?"
Below, the fourth piece in the frame, consists of six boxes: two rows of three, two square boxes on the left, two rectangles in the middle. Two smaller rectangular boxes on the right create a wider band of space between them. Organic shapes continue their dance throughout the boxes, a treelike form in the top left box, below it four thumb-like prints, the middle set of boxes containing one, then two more rounded shapes, the boxes on the right containing finger-like shapes that stretch the height of the boxes.
The first set of words between the boxes on the left, "I wish I knew"
The next set of words between the middle boxes read, "I mean, they still might."
Through the space between the last set of boxes, four lines of text say, "It hasn't been that long since I sent out some of the applications."
The bottom piece features five drawn boxes: two on the left, one tall box in the middle, two on the right. Bits of rose appear and highlight the dark shapes in the two left boxes, adding definition and color to the muted work. The color disappears by the next set of boxes, and we are again left with dark and light grays and quiet brown.
In the space between the two left boxes, "Maybe Tammy was right, though. Maybe."
Through the center box, "Are you unpredictable?"
Two lines of text reply in between the last two boxes on the right: "I don't think so. I think I just care."
WINDOW AREA, PIECE 17
Before
Pencil & watercolor on watercolor paper
7.5" x 6", 13" x 11.5" framed
$180
This image consists of two drawn horizontal rectangles, one on top of the other. The top box is smaller and positioned near the center. The image is of a left hand, palm up, cropped at the base of the thumb. The fingers are curled, casting a shadow on the hand below. We see the right half of thumb's nail, the full nail of the index and middle finger, but not on the ring finger or pinky - those two fingers are more clenched. The thumb touches the the pointer, creating a space between them, exposing the lightly penciled background. A line creates the bend in the middle of the thumb, 2 diagonal lines create the folds of skin below. The hand is soft pink, and two lines below the pinky creates the fleshy part of the thumb.
The lower box is somewhat larger, and positioned off center to the right. Within the frame, we see a man from behind, his right arm outstretched, cropped just before the wrist. The right shoulder is lifted slightly higher than the right. His shorn head leans forward, we see the back of his ears, his neck, his shoulders in highlight. A dark vertical crease forms the middle of his back. His skin is light brown, and darkly shaded along the bottom portion of his back, and along the bottom of the arm.
OFFICE, PIECE 18
A panel from the artist's comic "not we, not i, but:"
page 3
pencil, watercolor, and & white charcoal on watercolor paper
10" x 6" / 10.5" x 6.5" framed
$130
One drawing consisting of five soft, gray images, one above another, a strip of white space separating each. From the top: a closeup of a pair of eyes, shut. The word "Oh" is written in the space below. The somewhat sad eyes open, and the words below read: "I'm in this one, then". Next, a hazy image of a bedroom, the subject lying down. A darkened figure hovers over him, blocking the light from the window. To their left, some indiscernible furnishings fill the space. The caption reads, "I guess that was my first dream, Jan." Next, we are looking up, a faint slash and gray wash creates a ceiling, and we see man in a white sleeveless t-shirt, cropped at the shoulder, staring directly at the viewer. Beyond him, the circle of the ceiling lamp, cropped just past its nipple-like screw. The same scene appears below, but now the man avoids the viewer's eyes, and looks away to the right.
OFFICE, PIECE 19
A panel from the artist's comic "not we, not i, but:"
page 4
pencil, watercolor, and & white charcoal on watercolor paper
10" x 6" / 10.5" x 6.5" framed
$130
Five images, in light gray and charcoal tone, one atop another, separated by a stripe of white, handwritten words in each stripe. The overall imagery takes place in a foggy world of a man's bedroom. Though the image is faint, the subject seems heavy with inertia. We stare at the speckled ceiling from below in the first image. At left, a slash moving diagonally downward to the right, forking at the bottom to create the intersection of wall and ceiling. To the far bottom right, we see the top of a cropped head with black hair, to its right, the rounded ceiling lamp. Below, the words: "Breathe in, breathe out." Next image is seen from the ceiling looking down, into a room, angled to the right, the floor cropped at the left top of the image. A man is seated in the middle of a white bed, in the middle of the room. He is facing toward the top right of the image, toward a pair of feet, which appear to be entering through a doorway. Below the words: "But no breath to the lungs." Next, the image is viewed straight on. we see the light of a window, its sill in shadow, the lower right edge meeting the back of a shirtless man, hunched forward, sitting crossed leg, knees rising slightly. The man is cropped above the eyes, and below the stomach, elbow, and thigh. Ghosts of shelf items trail to the right. Below, the words read, "No lungs in the chest." Below, in the center of the scene is of a pair of feet, cropped above its clothed ankles. One foot is flat on the wide stripe of dark gray floor, the other is raised, bent downward, as if moving forward. The words read, "This body is so smooth. Moves smoothly. Like I'm confident." The last scene shows a wide angle view of the bedroom, hanging pictures on the left, bookshelf on the far wall, shelf and window on the right, all converging into the center of the image: There, a figure standing in front of the foot of the bed, body facing forward, head turned ever so slightly to the left. The word below: "Sure."
OFFICE, PIECE 20
A panel from the artist's comic "not we, not i, but:"
page 5
pencil, watercolor, and & white charcoal on watercolor paper
10" x 6" / 10.5" x 6.5" framed
$130
Again, we see five irregular rectangular images, one on top of the other, separated by strips of blank space, most with written words. The images all show a room, done in light gray wash, and seen from different angles. In the top image, right of center, we see a long shot of a person's head and back. To the left, a set of horizontal shelves hold several indistinct objects, and leads the eye to the far wall where the subject is standing in front of a doorway. The door is closed. There is empty space beneath the image.
In the center of the image below, we see the close-up of a face, slightly tilted to the right, cropped at the forehead, and at the bottom lip. With furrowed brow, the person stares ahead with black pupils, darkened shadows beneath his eyes. The left side of the face is shaded, the right side beyond the nose is white. His black hair is tousled, his mouth is slightly open. On the left, a white, vertical shelf -- two of its shelves holding a single item. A window, to the right and partially blocked by the face, lets in light. On the far right, a vertical and a horizontal white line indicate another shelf. In the white space below the image, the words: "Damn it."
In the center of the following image, we see the figure's back again, closer this time, cropped through the middle, with charcoal hair, his white t-shirt softly shaded, the back of the right arm in shadow. The figure stands in front of and between two vertical gray stripes which create the door frame. Two rectangles of blank walls, gray and lightly dotted, flank the doorway. Below, the words: "Can't even leave the room."
In the next image, the figure now stands on the left side of the image, and also faces left. We see only the side of his head, neck and upper body. His hair is dark, the neck, the underside of the chin, and the back are shaded. To the right, the figure's shadow brushes against the darkened door frame. Two vertical lines form an irregular frame on the door itself. To the far right, an expanse of wall, blank except for the mottled spots of ink wash. The words in the space below say: "This is my house. I shouldn't be afraid."
The last image in the frame shows the figure now standing to the far right, body turned to the right, head bent and facing down. An expanse of blank gray wall is on the left, then, the frame of the doorway, the door, and a gray wall behind the figure. A spot of wash appears above and below the head, and next to the word below the image. The text reads: "Jan."
WALL 5, PIECE 21
Move
Pencil, watercolor, & acrylic on watercolor paper
9" x 7" / 13" x 14.5" framed
$250
This piece is made up of six images drawn on strips of cut paper, mounted on dark gray. From the left, four equally-sized horizontal strips hang in a column. Two smaller strips hang vertically on the right. Approximately half an inch of space separates each strip. The four horizontal images show the back of a person's legs, each image a different portion of the legs. Though each image is successively smaller than the one above, all are visually connected by the slight diagonals of the left and right outlines of the legs. The two vertical strips are croppings of a left hand, one viewed from above, and one from the side. Pale yellow and gray, dotted with light red speckles wash over the legs; green, gray, and yellow wash appear on the hands.
Filling most of its frame, the top image shows the upper portion of two thighs which rub against one another. The inner portion of the left thigh is shaded, tiny hairs sprout from both legs. A slightly curved line creates the inside of the right thigh, and creates a small triangle of space between the thighs at the bottom center of the paper.
In the image below, we see the back of the thighs and knees. Two single lines create the shaded inner side of the legs, and form a slender, curvy space between them. A small, dark gray curve at the bottom defines the back of the left knee, a horizontal line defines the right.
Next, a curved line creates the outer portion of the left leg. The left knee is bent, and raised, showing the bottom of the left heel and mid-foot in shadow, cropped at the toes. The right leg is slightly bent, and cropped at the ankle. The back of the leg is in shadow, while the space above the calf is highlighted.
The fourth image shows the portion of the legs below the knees, shoulder width apart. The left leg is slightly turned inward. From the back, we see the left calf, the heel, the inner side of the foot, and the toes. The right leg shows the calf, the heel, and a tiny sliver of foot in front.
The top right vertical piece shows a cross section of the back of a hand. Viewed from above, the hand is cropped through the middle on the left, and above the first set of knuckles at the right. A diagonal line drawn a quarter of the way down the page, creating the heel of the hand in the upper section, and the thumb bumps against the bottom of the image frame. In the piece below, the fingers are splayed, creating small negative spaces.
WALL 5, PIECE 22
White
Pencil, ink, on watercolor paper
2.5" x 5" / 9" x 13" framed
$150
The image is a closeup of a face, cropped at the forehead and cheeks. The eyes are closed, the soft lines of the lashes echo the bolder marks which create the shaggy eyebrows, softened by wash. A dark shadow at the upper left creates the edge of the forehead, and leads the eye to the brows which sweep across the paper to the right edge. Light gray wash creates the shadow below the eyes, and at the turn of the nose. Light lines, faint flecks of pencil, and the bumpy surface of paper create soft wrinkles and texture to the skin.
HALL 1
Safe Zone
#'s 1, 3 and 4
All are:
Pencil, watercolor, & acrylic, on yupo paper & watercolor paper
25.5" x 35.5" / 26" x 40" framed
$650
The three featured drawings from this series all share perspective of looking from above onto a pair of feet. Though in different settings in each drawing, the feet are always in a window of clarity, a specialized space in which objects come into sharp focus, bright color and intimate detail. This window contrasts with the rest of the drawing, which is sketched in pencil and remains in black and white.
Hall 1, PIECE 23
Safe Zone 4
The paper within the frame is largely devoid of color - most of its surface is covered with broad brushstrokes of gray and white. A lap is visible, the legs sketched roughly in pencil with mild shading. A person sits on a colorless chair, with a thin armrest visible on the left side. The legs enter into a frame of color and clarity, making visible the sitter's pale purple jeans. The left leg is slightly extended, edging toward an identical chair, also with a thin armrest on the left side. The carpet on the floor is impersonal, gray with a faint brown striped pattern. The feet in this window wear light brown loafers, but might not be wearing any socks. To the right of this pair of feet, there is another pair of feet, outside the window of color. They are women's feet, with legs crossed, wearing small, dainty ballet flats.
Hall 1, PIECE 24
Safe Zone 3
The figure of this drawing is standing amid a pile of rocks, which appear as simply-drawn amorphous shapes outside the window of clarity, and come to life with detail inside the window. There are about three large rocks to the left of a person's torso, legs and feet, all seen from above. The figure's pants are grayish-green, with carefully shaded creases, with the right leg slightly extended forward, as though taking a step. The ground beneath his feet is covered with hundreds of tiny pebbles, as well as larger rocks, all roughly the same color of gray. His feet are balanced on two of these larger rocks. He wears pale gray Converse-style sneakers with white laces.
Hall 1, PIECE 25
Safe Zone 1
Within the colored zone, we look down at a pair of legs wearing loose, dark blue jeans, ending in a pair of bare feet. The feet stand on a highly detailed yellow hardwood floor, streaked with orange and brown highlights. The legs cast a shadow stretching up, off the top of the frame. Things are scattered out on the floor within the colored area and spilling out into the white area: a pair of khaki pants with a belt on the left side, a tan sweater lies on the right. Outside the zone, objects are seen from the perspective of the figure, and at a wider angle. Viewed as if it were turned on its side, a bookshelf appears from the right, and the back of the shelf meets the base molding of the wall. The molding runs diagonally toward the left side of the top edge. To the right, an air vent partially blocked by the bookshelf, abuts the top of the molding.
Hall 2, PIECE 26
Lucas' house
Pencil, watercolor, & acrylic, on yupo & watercolor paper
10.5" x 6.5" / 16.5" x 12" framed
$250
The vertical frame contains three images on different sizes of paper, two of which are placed directly on top of a third, without any mat or frame. The background drawing is a soft, hazy depiction of trees in blue fog. The tree on the right side is the larger of the two, with a thick trunk and branches that extend out of the frame. Neither tree has any leaves on their branches.
Of the two drawings that sit on top, the drawing above is slightly smaller. A thin horizontal drawing shows a of a pair of pale hands resting on a smooth white, solid surface. The fingers are intertwined inward, toward the palm and facing the viewer. The clean, unadorned hands fill nearly the whole frame, with the wrists visible but the forearms outside the frame. The intertwined fingers form the shape of a triangle, like the roof of a house. Details such as the folds of the skin and shadows cast under the fingernails are made clear in pencil. Behind the hands is a background of horizontal pencil lines infused with light green watercolor.
The larger square panel beneath depicts the silhouette of bare tree branches stretching up toward the blue watercolor sky. These branches support smaller twigs shooting off them in all directions. The frame includes only the middle part of the branches; the trunks and the tips of these tall branches are out of frame. Streaking across the drawing are a few telephone wires - one is at the top of the page, and four more are clustered toward the bottom. Also visible in the lower left corner of the page is the apex of a white clapboard peaked roof, and two brick chimneys.
Hall 2, PIECE 27
Bird on a wire
Pencil, watercolor, & acrylic on yupo paper
5" x 6" / 10.5" x 12.5" framed
$220
This square drawing places the viewer beneath, but very close to, its subject - a bird perched on a wire, looking downwards, directly back at us. The bird's feet, breast and head are a muted yellow, and its wings and tail sport a black and white pattern. The wire the bird sits on is one of five running parallel to one another, all of which cut diagonally across the page, from the bottom right corner to the top left. The bird and wires are against a background of blue sky, with a faint outline of puffy white clouds.
Hall 2, PIECE 28
A tree in spring
Pencil, watercolor, & acrylic on yupo paper
5" x 5.5" / 12.5" x 11" framed
$210
A silver frame houses a dark grey-green mat, in which, slightly above the middle, is a square painting. The image inside shows the topmost branches of a tree whose trunk is out of frame. Thick pencil lines, most likely telephone wires, streak across the page, radiating from some unseen point. These bold lines cross through the tree branches, cutting diagonally from the bottom right corner to the top left. The tiny yellow-green leaves play against a background of a blue sky, dotted with delicate watercolor droplets.
Hall 2, PIECE 29
Three Trees
Pencil & watercolor on yupo paper
3.5" x 10" / 10.5" x 17" framed
$240
The horizontal frame contains three square drawings, all of which are from the perspective of a person on the ground, looking upwards at the treetops against a background of a clear, watercolor blue sky. In the left panel, leaves are notably absent, and we see a network of branches, thick and thin, tangled in front of a few puffy clouds. The central panel shows the branches of three trees on the right of where the viewer is standing, presumably all different kinds of trees, for their leaves are all different shapes and colors. Another set of branches creeps into the top part of the frame. The right panel shows the tops of three trees as seen from below, one of which stands in the center of the frame, bare of any greenery, and not quite touching its neighbor to the right - a pine drawn in pencil, flecked with green watercolor. The leafy green top of a third tree pokes into frame in the top left corner.
Hall 2, PIECE 30
A Tree in Fall
Pencil, watercolor & acrylic on yupo paper
11.5" x 5" / 17" x 11" framed
$260
The narrow, vertical painting is framed and double-matted, first with a thick grey mat that complements the colors of the painting within, followed by quarter-inch taupe mat. The painted image of a thin, barren tree appears on the left side of the foreground, curving gently, stretching out of the frame. The tree has two clusters of spiky twigs about halfway up its trunk, followed by a few small buds near the top of the frame. The tree stands in an open field, where a row of about ten smaller trees line the horizon. These trees in the distance appear fuller than the lone tree of the foreground. There is little growth in the field aside from the dark trees. The sky is streaked with thick white and pale blue acrylic paint, contrasting with the earthen green, grey and yellow watercolor tones of the ground.
Hall 3, PIECE 31
Horizon
Pencil, watercolor, acrylic, & cray pas on yupo paper
8.5" x 10" / 13" x 15" framed
$260
A horizontal landscape is divided in two portions. The painted light blue sky fills two thirds of the image, a puffy white cloud blows in from the left. Brown stalks and brush fill the foreground. Beyond the brush, the brown colored ground rises uphill and forms an arced horizon line, where small, black trees with barren branches march across the image. There is a gap in the tree formation near the center right of the image, and an evergreen sits at the end of the line at the right edge.
Hall 3, PIECE 32
Look up
Pencil, watercolor, & acrylic, on yupo and watercolor paper
14" x 9" / 20" x 15" framed
$260
The horizontal frame is divided into three wide rows of approximately the same height. The bottom row shows up-close details of a white window frame, with the window frame's lock slightly right-of-center. Toward the left of the page is a low sliding latch. The left edge of the section hints at the detail of the window frame, or perhaps the folds of the window blinds. A clear blue sky is visible through the window, with the hue becoming progressively darker as it nears the top of the section.
The central section is a view of the sky as seen when looking straight up. The majority of the column's space is a watercolor blue sky dotted with small, puffy white clouds. There is gradation in color in the sky, with the palest shade of blue close to the left side of the page, and darker blues in the bottom-right section. The right edge of the page features the leafy topmost branches of a tree. Several different shades of green color the leaves. At the left edge of the panel is a small and distant cityscape placed across a body of water, but the scene is oriented vertically, with the tops of the tiny building facing inward to the right, toward the sky. The water is a darker and more mixed array of colors in comparison to the sky in this panel. The tiny cityscape appears in silhouette.
The top panel is further divided into six rectangles, each containing a separate image. From left to right, the first segment is the largest, a long rectangle featuring a floor made from wooden panels, angled diagonally. In the right quarter of the panel, white molding between the floor and wall is visible.
The next panel in this section shows a wooden chair, as seen from behind and slightly above. Most of the chair's seat is visible, as is its front left leg, but both right legs and much of the chair's back are out of frame. The chair is resting on a wooden floor of similar light brown color. Subtle shadows are cast by the chair onto the floor directly below it.
The third panel of this section displays the top-right corner of a window, but oriented as though it's been turned 90 degrees clockwise. Set against a white painted wall, the dark, carved wood of the window frame stands out. Within the frame, one can see the folds of a the blinds and the twisting rod on the right side of the window. Beneath the blinds is a corner of pale blue sky.
The fourth panel shows a white ceiling fan as seen from below against a white ceiling. The four blades of the ceiling fan appear stationary, with an illuminated light in the center. The light faintly glows yellow. Light shadows cast from the fan are rendered in pencil.
The fifth segment is narrower than the others, and largely white with some shading to indicate shadow. The panel features the shadow and the tip of an object not easily identifiable. It looks as though it could be the tip of a blade on the ceiling fan featured in the previous panel. The object is on a smooth surface, also of whitish color.
The last section in the sequence, furthest to the right, focuses on a corner where the three surfaces come together: two walls and a ceiling. Because the surfaces are all the same color, this space would be difficult to identify without a corner of a doorjamb to provide some orientation. The dark brown carved wooden door jamb is disorienting, painted onto the bottom of the page as though the image had been rotated 90 degrees counterclockwise.
HALL 3, PIECE 33
Train station tree
Pencil, watercolor, & acrylic on watercolor paper
8.5" x 11.5" / 15" x 18" framed
$270
This painting is a slightly different style from the artist's other depictions of trees, in that it shows exquisite detail up-close to its subject. The entire frame is taken up by part of a tree trunk in life-size proportion, with every crease and blemish in the trunk's bark clearly rendered. The trunk is slightly left of center within the frame, with a few thick branches, smoother than the trunk, protruding from its right side. These branches jut upward and downward and outward, cross-hatching the space. On the trunk's left side, only one branch curves outward. None of the twigs on these branches show any buds or leaves. Color is used very delicately in this drawing, with varying shades of brown applied to create small shadows, indicating that the source of light is coming from the left side of the trunk. The image is, over all, very pale, with a gentle greenish watercolor background.
HALL 3, PIECE 34
Wind
Pencil, acrylic on watercolor paper
6.5" x 6" / 11" x 11.5" framed
$240
The drawing features the silhouetted branches of a tree whose trunk is out of frame, drawn heavily onto the page with pencil. The dark branches support smaller twigs and colorless buds on their tips. A particularly dark branch appears in the foreground. The background is a faintly grey-green sky, with the central area paler than the rest. The texture of the paint is made visible in the streaks left by a paintbrush. These streaks subtly criss-cross the paper in all directions.
HALL 4
Outside Life: pages 1-3
All are pencil & watercolor on watercolor paper
18.5" x 6.5" / 24.5" x 11.5" framed
A series of 3 pieces set in comic style sequence. The images follow a lone figure as she moves from a rocky beach to a wooded area. Each piece is framed in black metal, matted in gray, and mounted on a black background. The colors are muted, mostly faint gray with bits of blue in the first piece, soft tans and blues in the next, and quiet yellows and greens in the last.
HALL 4, PIECE 35
A panel from the artist's comic "Outside Life", Page 1
$200
The vertical frame contains a dozen or so squares, arranged like a comic book. The first ten squares are in one long, vertical rectangle, with smaller panels clustered within, showing a sequence of events. The top left square contains swirls of grey and black indicating the dark surface of the water. A black arm enters the frame from the left, its fist reaches into the water. The next cluster of squares shows the arm partially-submerged in the water and its dark reflection; a hand holding a rock; the hand carrying the rock; and a black-haired character sitting on a rock, bending toward the water.
A square below shows the profile of the figure looking down, her long black hair across her face. The character has no distinguishing features except for her straight, black hair. Her face is blank - no eyes, nose, or mouth. She wears a light-colored t-shirt and pants. The next frame contains abstract putty-colored watercolor, heavy toward the bottom left corner. A wash of blue gray forms a soft shape in the center of the frame.
The frame beneath is the largest square of the panel. It is the view, from afar, of the black-haired figure in the center of the frame, walking toward us on a wide path. She carries a bluish rock, about the size of her head. Behind her is a heaving green and gray mass. A house with two bright windows sits on the horizon.
Beneath is a series of three squares. They show the black-haired figure sitting on her knees on the ground. She places her blue rock in a line of five similar rocks, curving out of the bottom-right corner of the frame. She stands up, looking down at the rocks. Next, we see her turn to the left, walking away from the scene.
The rectangle below shows a rolling blue-gray ocean, with the horizontal shoreline at the center of the frame. The black-haired figure is visible, with her back towards us.
Matted separately, the square below takes up the bottom third of the entire framed work. There is a small square in the top left corner, devoid of color. It shows the black-haired figure leaving the beach, walking along a high stone wall, from the left to the right of the frame. There is a staircase on the right of the frame, leading up from the dark, shadowy beach.
The final scene of the work shows hundreds of tiny blue-gray dots forming a vertical vine-like line on the right-hand side of the page, with a dozen more branching in all directions. Many of these branches end in larger dots, or decorative circles. Parallel to this shape is a series of smaller curves, also comprised of tiny blue-gray dots. This scene is a bird's-eye view of the beach, with the ocean represented by a streak of yellow-brown watercolor in the top-left corner. The dots are blue-gray rocks, arranged in artful formation.
HALL 4, PIECE 36
A panel from the artist's comic "Outside Life", Page 2
$180
In this next piece, we see the figure moving along a coastline within several rows of small images. From the top, a long shot - 2 long rectangles of color - a faint color of blue on top bumps against a stretch of tan below. A tiny dark haired figure is positioned in the middle, and appears to be following four others at a distance.
The image below is tan, and shows a closeup of a path moving diagonally from top right to bottom left, along which people are walking. On the left, a wedge of white indicates the back of a leg and heel, the area above, a triangle shape of large brown rock meets the top of the path. A glimpse of pants and shod foot, uncolored, appears out of the middle top and is followed by the toes of the other shoes.
In the next row, three square images of the woman from the shoulder up. Her face is featureless, except for a simple line for a mouth. Her head tilted to the left in the first frame, looking straight on in the next, and tilted down in the last, her dark hair falling forward.
A cluster of images follow. First, in full profile and facing left, she is walking along, a jetty of gray cuts through the middle behind her. Below, again we see her blank closeup, and to the right, the word "Um...". To the right, four more images, one on top the other. Viewed a bit farther out, she is on the left, to her right, the words "I'm going to go" This sits on top of an image of a telephone pole. We cut back to the subject, facing us, cropped at the forehead, and before the elbows. Her left hand is lifted up and she points to the right and says "...over that way". Next, from bottom right to top left, a diagonal line of people, uncolored, moving along a path, edged in brown and green on the left, gray to the right.
Below, the square on the left shows a longer view of the line of people, as the small dark haired figure moves away from them on the bottom right. The text to the right reads "-Bye." In the next frame and in the last two below, she stands alone on the path, her tiny figure within the landscape of blue sky, stripe of tan, and greenery below. She bends down, facing away from us, then the tiny figure moves toward us in the last frame, walking along in the shrubbery at the bottom of the image.
HALL 4, PIECE 37
A panel from the artist's comic "Outside Life", Page 3
$160
The vertical frame features 8 rectangles following the black-haired figure through a forest. First, a cluster of three squares are in a diagonal sequence, descending from the top left corner. The back of the figure's shoulders and head are seen as she approaches a clearing in the forest. The ground is soft brown watercolor, with white patches indicating spots of sunlight. Four tree trunks are visible, one in the foreground on the left side of the frame, and three in the background. A pale log lies on the ground. Behind the tree trunks are soft shades of green watercolor blending together. Next, a square shows the figure's waist close-up. Her skin and clothes are colorless, the pencil lines rendering them are sketchy. She is holding something, about the size of her fist, close to her body. The last square of the cluster depicts the back of the figure's head, cocked to one side, looking out at the forest. In all these squares, the forest is represented with washes of brown and green watercolor.
A pair of rectangles follow, showing the trees of the forest. The image on the left features a trunk with dark brown bark emerging from the left side, forking into two branches, reaching out of frame. The forest appears as blotchy green and brown watercolor in the background, with darker colors at the bottom of the image. The image on the right offers a glimpse of the forest floor, and two tree trunks emerge out of it.
Another pair of squares are below, showing the black-haired figure in the forest. In the image on the left, she bends down in the center of the frame. In the image on the right, she is seen from above, standing and surrounded by tree trunks that reach out of frame. In the bottom left corner are the words "This'll do," written in pencil.
The bottom square again shows the forest, four tree trunks symmetrical in the foreground. They are on a hill, with lush green-leafed trees visible behind them.
CONCLUSION
This concludes our audio described tour of "Inside/Outside" by Kimball Anderson, presented by VSA Massachusetts. To contact VSA Massachusetts please email . This exhibit was audio described by Adrienne Wetmore and Leigh Dale. We hope this audio tour was helpful and we look forward to your feedback.