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Lesley Dill - Greg Kucera Gallery, Seattle Lesley Dill Unique Works and Prints Various unique works on paper, 1991 Handsewn ricepaper with stamping, ranging in size from 13 x 2. UNKNOWN NOURISHMENT 2001 Lithography and assemblage on paper, 27 x 21. They seem airy and fragile, weighted only by the significant text which is often printed like veins or lifelines across their surfaces. Like Jim Dine with his empty bathrobes and Kiki Smith with her flayed bodies made of paper or bronze, Lesley Dill has produced an identifiable vocabulary of signature images early in her career. She has shown widely across the country in major museums and galleries, including George Adams Gallery in New York.
Lesley Dill - Greg Kucera Gallery, Seattle Lesley Dill Unique Works and Prints Various unique works on paper, 1991 Handsewn ricepaper with stamping, ranging in size from 13 x 2. UNKNOWN NOURISHMENT 2001 Lithography and assemblage on paper, 27 x 21. They seem airy and fragile, weighted only by the significant text which is often printed like veins or lifelines across their surfaces. Like Jim Dine with his empty bathrobes and Kiki Smith with her flayed bodies made of paper or bronze, Lesley Dill has produced an identifiable vocabulary of signature images early in her career. She has shown widely across the country in major museums and galleries, including George Adams Gallery in New York.
Lesley Dill - Greg Kucera Gallery, Seattle Lesley Dill Unique Works and Prints Various unique works on paper, 1991 Handsewn ricepaper with stamping, ranging in size from 13 x 2. UNKNOWN NOURISHMENT 2001 Lithography and assemblage on paper, 27 x 21. They seem airy and fragile, weighted only by the significant text which is often printed like veins or lifelines across their surfaces. Like Jim Dine with his empty bathrobes and Kiki Smith with her flayed bodies made of paper or bronze, Lesley Dill has produced an identifiable vocabulary of signature images early in her career. She has shown widely across the country in major museums and galleries, including George Adams Gallery in New York.
I want to make bronze as linear and light as possible, to use the barest amount of bronze possible to minimally map out the tracings of human presence. Visible language is in each of these pieces, bannered, sculpted, or almost hidden from view in soft relief. These words are not impersonal segments of gridded text to me. ' Lesley Dill was born in Bronxville, New York, in 1950, and currently lives and works in New York City. In 1996 she received a Joan Mitchell Foundation Grant, and she has also been the recipient of a sculpture fellowship from the National Endowment for the Arts, as well as other foundation and residency awards.

A site I really like: http://www.smh.com.au/news/0012/27/text/world10.html

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