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One way to combine postmodern deconstruction of the painted surface with a feminist reclamation of craft is to sew together scraps of canvas, as Pindell does here for her knockout first show of new paintings since 2001. Using a sailmaker’s needle, she assembles her elements into irregular shapes and paints them in bright solid colors before adding her trademark hole-punched paper disks; the unstretched paintings are then further embellished with ovals and circles cut out of foam. Nautilus #1, a yellow spiral whose drifts of multicolored dots evoke ocean currents, may be the sunniest, but all the pieces radiate joy, even as their visible sutures evoke dislocation and trauma. Songlines: Labyrinth (Versailles), which is loosely rectangular and pale turquoise, is waiting patiently for a museum wall.

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