Meg Atkinson

Had anyone told me, back in the day, that these paintings, which began as still-lifes, would come to resemble a series of linked, primary-colored rectangles from the De Stijl period, I would have laughed at the very idea of it; because while each initial (still-life) composition – usually a hat, a glove, a child’s toy – was designed with a grid as a background, who could have foreseen that the grid would then come to the fore? Ultimately, what I love about making art is the fact that whenever an artist thinks she has the end product visualized, she doesn’t. In other words, it’s as if by completing a painting an artist is putting the stamp on the fact that she is searching.