Given the severity of means this feels like more of a diversion than a sequel, and I question whether it results more from my own surrealist proclivities than any heterodoxy on the part of an artist for whom consistency is nearly everything, if one takes that word to refer to relative viscosities, translucencies and thicknesses, in addition to a tendency toward inventive repetitions.
These devices, like Wood’s images, come in a variety of formats depending on function, including something called a “pin-grid” array: a square chip with pins arranged in concentric squares. Without unduly stretching this tentative analogy, it seems clear that the insistence on slowness, almost to the point of stasis, where the pulse is now hardly a flicker, has paradoxically invoked a form of communication, a type of code that is instantaneous rather than sequential.
Sandra Porter says
A lovely sensitive review to match the lovely sensitive work by Eleanor Wood, friend and fellow artist from the UK.
Eileen P. Goldenberg says
Great review. I love Eleanor Wood’s work and we are friends as well. Her art is sublime, complex,quiet and very alive.