RUTH RIX GALLERY ONE
FIGURES AND FRAME... AMBIGUITY OF.... ENTRANCES AND EXITS
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At first sight this figure is passing an open window or door, briefly glancing out. But head is (moving) inside, while hand and arm is outside.The head is almost secretive; the arm is exposed. The relationship between figure and frame is ambiguous. |
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Here two figures are framed in adjacent archways or entrances or similar. The right hand figure is firmly framed , but the left hand figure which seems to be moving towards the other, seems also to be dragging or dissolving its frame in a slip-stream behind it. One frame is secure, the other less so. |
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Here, frame and figure tease with a most ambiguous relationship. The left-hand figure is taller than the entrance, and is seemingly both sides of the aperture; outside and inside, stepping through, already through and remaining, almost as if it wears an entrance like cloak. |
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The doorway is the main source of what light there is, framing what might be a barely formed figure still almost a chaos of lines. |
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Here there might be, or might not be a seated figure. The main mass is not framed by the aperture, but a part of it is glimpsed through the frame, which stands slightly to the fore. The source of light reinforces the ambiguity, half shows through the frame. |
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Three figures shown in separate scenes in the triptych , but elements of the outer figures or scenes are beginning to leach over the boundaries, as if making a bed for the centre figure. |
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Like an emanation from mthe suggested figure innthe left arch or entrance, a mist or smoke rolls into the central frame and towards the right, dissolving the separating structure. |
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Here the separations are horizontal rather than vertical , but the superimposed figure shape(s) cross the storey(s) , contradicting the structural definitions of space with the space of the body. |
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