Out of geological interests came the idea of 'earthen cutaways'. One could pretend visual descent through horizontal earthen strata. Anchored to horizontals, inverted triangular areas of imagined tree roots and percolating water were played against less dense triangular painted areas. A 'chamber orchestration' series followed, turning the triangular cutaway images into wedges. This second set of paintings was composed to relate to each other on gallery walls, as if movements in a large musical composition.
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