No Time Like the Present
November 3rd – December 15, 2007
Opening reception November 3rd 6:30 – 8:30 pm
In this new work Meyers continues to pursue a meditative ideal, the perfection in repetition. Her lines, however, have taken on a different curvilinear form. The drawings float between optical illusion and grand simplicity, spinning and twisting in front of our eyes.
Meyers maintains her method of mark-making, one line followed by the next with the same spacing and the same trajectory; but, the first line has evolved into a challenge all its own. Harking back to the story of the Greek artist Apelles who was so talented as a draftsman that he was able to render a perfect circle free hand, Meyers tackles this new challenge with the same determined process she has pursued for the last decade and a half.
The drawings read almost as graphs of an undulating topography, swirling whirlpools or weather patterns. But, they are measured and specific. They are in fact an artist’s graph of time and work. Some of the pieces read as if they are blossoming and growing through a sort of linear mitosis, while others are contained in themselves, circling indefinitely. They suggest Buddhist sand mandalas, which are said to contain the entire universe in microcosm and are used as aids in meditation.
Ned Rifkin, from the Smithsonian describes, in his essay for the show’s catalog, the experience of viewing Meyers’ works as a, “sheer delight of seeing something that is fundamental and emphatically simple as method or technique while grasping the immense complexity because of the physical and optic effects of the work.” He credits Meyers as enabling the viewer to admire the prosperity and rigor of her sensibility while introducing us to the wonders in the interstices of space and form that her lines orchestrate; “The work is both fluidly sublime and paradoxically effort laden.”
Linn Meyer’s received her BFA from Cooper Union, New York and an MFA from the California College of Arts in Oakland. She is the recipient of a Pollack Krasner Grant. Her work was acquired this year by the Hirshhorn Museum and Sculpture Garden.
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