Endless Drawing, 2001, white ink on 1/4” black cast acrylic, 6’4”h x 8’4” wide (75 x 100 cm), mounted with mirror cleats
Drawn by hand over three days for an exhibition with Sandy Plotnikoff at the Helen Pitt Gallery, Vancouver BC Canada, from May 26 to June 23rd, 2021. The exhibition was curated by Lee Plested.
Out of Bounds: Working Off Paper, a group exhibition featuring work that expands the practice of traditional drawing. Exhibition dates are August 24 - October 13, 2001. Artists featured in the exhibition are Corinne Carlson, Sonja Feldmeier, Ceal Floyer, Mark Grotjahn, Lucy Pullen, Andrei Roiter, David Shrigley, Mungo Thomson, Olav Westphalen, and Erwin Wurm. The exhibition is curated by Julie Deamer/Four Walls Productions.
‘Lucy Pullen includes Endless Drawing, a physical and interpretative work. A solid and immense sheet of black acrylic leans against a wall and buckles in the middle under its own mass. Fluid, delicate white lines drawn onto this structure become a mess of knots suspended on a glassy black pool, crating a hallucinatory space between abstraction and form. ‘ - Julie Deamer
Out of Bounds: Working Off Paper is curated by Julie Deamer, an independent curator and writer who moved to Los Angeles last year after a five-year tenure as Curator/Director of Four Walls in San Francisco. The Luckman Gallery, Cal State Los Angeles, August 24 to October 13, 2001.
Double Meandering Tile, 2023
Double Meandering Tile, 2023
Double Meandering Tile, 2023
Double Meandering Tile, 2023
Progression of a double meandering spiral, from start to finish, presented by Amy Ashurst Gooch and Shelly Gao, at a Conference for Computational Aesthetics, Vancouver Canada: 2011
Originality depends on the creation of repeatable effects. In her essay American Originality Louise Glück says, ‘original work must seem somehow to break trails, to found dynasties. That is, it has bo be capable of replication. What we call original must serve as a model of template, binding the future into coherence and, simultaneously, through les crucially, affirming the coherence of the outstripped past.”
‘Originality, the imprint of the invented self, depends on the creation of repeatable effects. Meanwhile , much that is profoundly original but unlikely, for a variety of reasons, to sponsor broad imitation, gets overlooked, or called that lesser thing, unique - valuable undoubtedly, but a dead end. ‘
Installation view, IN LINE, Jessica Bradley Art & Projects, Toronto: 2005
In the stairwell, installation view, 2023, Victoria BC Canada, courtesy of Margo McLoughlin
Paperwork, studio view, 2023
Freestanding, curated by Dick Torchia, installation view, Arcadia University Art Gallery, Glenside PA: 2001