Reminiscent of cubist painting, Amy Sillman’s The New Land creates a landscape of fragments, where shapes and colours converge as independent forms, never quite resolving as a whole.
Sillman addresses her canvas with a painter’s heart-felt affection, each gesture becomes a consuming sentiment of expressive absorption. Set against the dalliance of a chalky pink ground, elongated stripes of green congregate with animate integrity, vibrating against patches of electric orange, and off set by contradictory suggestions of spindly flowers and figures. As layers overlap and forms collide, Sillman’s painting descends into a wonder of action and associative reference where bodily experience, memory and perception tangle together.