Text by John Belknap

Plot

(a) A small piece of ground, generally used for a specific purpose. (b) Or, a measured area of land; lot.

She sits upright on her stool. She pushes her twilight hair over her left eye leaving her right eye free to observe. A rippled collarbone supports her charm-pink neck and face. Below her collarbone are two incongruent breasts separated by a stroke of cerulean blue. She grips her left wrist with ambivalence. Two fingers silently tap the underside of her stool.

She has purple legs. Her right foot arches as it balances on the bottom rung of her stool. Her left leg extends out and onto the negative space of the canvas so that her left foot finds support on deserted ground. The carmine blush on her foot gives weight to the abandoned terrain that surrounds her. She calls this land her own.

Plot

A ground plan, as for a building; chart; diagram.

Let’s try this again: She sits perched on an area of land. The land is left blank save eight lines. Four of the eight lines are brought together to produce one sovereign and lonely shape: a rectangle. Another two lines extend skyward from the rectangle and fall off the edge of the canvas. Two more lines jut down from the rectangle and fall off the edge of the canvas. She evokes the language of Minimalism as she casts a spell on us. Tap tap. She has forged a room of her own.

Plot

The series of events consisting of an outline of the action of a narrative drama.

But her rectangle is only a dress rehearsal. She has recast one sovereign and lonely rectangle into a white plaster wall. On one side of the wall she is shown upright on her stool. She pushes her twilight hair over her left eye leaving her right eye free to observe. On the other side of the wall she retells her story in verso. Here, her twin’s backside is shown upright on her stool. From this angle she constructs a set that suggests she is no longer alone.

Plot

A secret to plan to accomplish a hostile or illegal purpose; scheme.

She has taken us out of the world of pictorial representation. When something from the past is depicted anew, she guides us into a world of spectacular, or rather sculptural, relief. In relief, she has us climb over her wall to witness what she saw. Right in front of you and me, her and she, are painted another eight lines. Four of the eight lines are brought together to produce one sovereign and lonely shape: a rectangle. Another two lines extend skyward from the rectangle and fall off the edge of the canvas. Two more lines jut down from the rectangle and fall off the edge of the canvas. We stand both inside her rectangle and her room, and her plan is now complete.