The crura have been standing in the center of the basement half of my studio for about four months; the paintings, that together with these ‘appendages’ form the work Chamber, sitting patiently on top, waiting for what comes next.

I know how they feel.

Each day I navigate around them. It is pretty chaotic.

Chaos is not a circumstance that I freely chose.

However, it seems to be the one I currently find myself in.

Being someone who tends to work with what is before her, and the crura are continually catching my eye, I can’t help but look at the canvases I’ve been painting in the greenhouse

the blue paintings of Franzi’s hanging on the wall

and wonder how might the they all come together?

The expression that keeps coming to mind is ‘does this story have legs?’

Underlying narrative has also been on my mind but more on that to the other paintings in other postings.

Unlike the paintings of Chamber these are all single sided paintings on stretched canvas. Some are 1.5 inch gallery wrapped, others thinner 7/8 inch. The thicker stretcher bars enabled me to balance the canvases on top of the crura, the thinner stretchers I hung on the bars jutting out, this makes the legs appear shorter.

Some are paintings that are being painted over older work which is allowed to peak thru in spots, others are ‘fresh starts’. Oil is what is currently being applied. With the exception of Franzi’s blue paintings all the work shown is still in progress.

Thoughts on refinement include how to treat the backside of the paintings, how to attach the canvases so they are removable, how to construct the crura so they can be disassembled, reassembled, and varied in height.

Thoughts on how this work differs from Chamber and the approaches taken by other artists such as Dona Nelson and Laura Owens.

And what part does the research with personas as tools play in arriving at this point?

Playing with what is standing around I took these pics and video.