October 31 to November 20, 1990
Pamela Speight’s abstract, painterly works have been described as interior landscapes which contain all memory – historical, biological and personal – simultaneously. She employs her own personal symbolism and integrates it with popular science and cultural elements.
Many of those elements are implied rather than obvious. Her approach deals with all that is below the surface. The sense of burial that often occurs does not refer to the aftermath of death, but to things underground with many layers obscuring them, like archaeological finds.
Human and animal forms are a vital part of the works, but have been pared down, simplified, obscured from the viewer’s immediate recognition. Both the hidden and visual ruins and fragments speak of something intangibly beyond our immediate selves.
Speight’s ideas are recorded as a sort of hieroglyphic notations. Figures and characters derived from objects and events are abstracted to their essential forms. Occasionally she uses arrow-like or dotted lines to connect or direct the viewer’s attention or to indicate an interaction between different elements.
Speight’s firm foundation in expressionism, abstraction, and surrealism provides the stepping stone for her own unique approach to representation of the body in alternative ways to mapping the psyche with cultural as well as personal imagery.
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