Mr. Gilliam began adding aluminum powders, fluorescent paints, and resisting agents to his expanding palette. Mr. Gilliam has long understood how his process of folding and unfurling creates a Rorschach test of abstract forms. Sam Gilliam’s ‘Double Merge’ (1968) Photo: Sam Gilliam/Artists Rights Society/Bill Jacobson (Photo)Mr. Gilliam has attributed his suspensions or “drapes” to the vision of wash drying on the line. Mr. Gilliam has described his affinity for banners arcing in the paintings of Albrecht Dürer. As he bundles and pins his canvases into catenary curves, “Double Merge” turns this appeal on its head.

Source: Wall Street Journal August 19, 2020 20:14 UTC