The title Entropvisions is in homage to my mother, the poet and art critic, Harriet Zinnes. In 1990 New Directions published a collection of her poems titled Entropisms, a word she made-up combining entropy - the tendency toward disorder - and tropism - the growth towards or away from a stimulus. Similarly, my short reviews combine entropy and tropism by suggesting growth towards a vision of art from the chaos of the art world. Through the back door, my title also pays homage to my physicist father, Irving Zinnes, whose long discussions with my mom got her thinking about entropy and tropism in the first place.
Teri Hackett, studio visit
2026.7.7
What
a joy to be brought into the studio of Teri Hackett, to see her huge, large,
mid-size and small hand-held art, all exuding a feeling of mythical scale made
contemporary. In her current series, the
focus of each painting hovers within an empty raw-canvas frame, becoming a
painting within a painting, suggesting an event where time disappears into an
unknown future, where environmental chaos has destroyed much of earth’s life
but where trees, sky and clouds still desperately cry out to the night
stars of eternity, pleading to survive. This visual and conceptual sense of the
unstable is balanced – always balanced – by happy colors of pinks against blues
and greens grounded by earth tones, along with playful globular shapes, and
gorgeous textures and patterns created by acrylic paint, rope, globs of
plaster-like gesso, cloth, markers, coffee, photos, resin, diatomaceous earth,
etc. In fact, Teri’s love of materials
relates to her love of experimentation, to pushing a painting beyond itself, of
asking “What exactly is a painting?” and “Where does a painting’s space end?” I was lucky to be shown earlier work too,
where Teri’s life-long query into the 3-dimensional possibilities of painting
began, for instance by breaking holes into the canvas surface, or controlling
the gallery installation so that paintings protruded diagonally off the wall or
rocks and bricks continued on to the floor.
Teri also showed me her Siena sketchbooks, a collection of colored
marker drawings that flowed out from her walks during an Italian artist
residency, a series of vibrant colored-maker notations of place, memory, shape,
color and light. Though not directly,
clearly these – and other – sketches feed into her larger work, helping to give
substance to the imagined pastoral landscapes she couches within a carefully
constructed abstraction. In these imagined landscapes, Teri plays with incongruity:
physical and painterly space; astrological time and painterly time; materials
as descriptive illusion and earthly substance; the lyrical and philosophical. Yet miraculously, each piece is unified and glows.