Abercrombie releases a succinct aesthetic thesaurus of individual signs and scatters of limited sober schemes throughout her indoor paints, landscapes and study in still life paints, which are spread with day-to-day things and scenes, consisting of eggs, eggs, eggs, black felines, owls, owls, owls, owls, owls, owls, snails, doors, fruits, Victorian furnishings, bare trees, exposed trees and satellites. Although desires are deeply tapped with the help of psychoanalysis, her work is based on her life experiences and emotions (except for the horizontal landscape of the Midwest). “I tried to make it a reality,” she said. “I usually find my paint wiser than the earth around me.”
Abercombie usually inserts herself into the earth, transforming into uneasiness, isolation and wit – as a pet cat, one uses a witch hat (she usually uses her near her), and is also the moon of the new moon. Each paint is a self-portrait of some form of a form of showing that manager Eric Crosby is attracted by inner and outer facts, which is indeed personal. “Her desires are indeed real to her, and her direct repainting of their efforts is a task for her job,” Crosby stressed.
She also found a real miracle. For example, her demolition door series attracts particularity from the fenced truly recycled wooden doors on the building website, as Chicago was primarily a region of Black Hyde Park, which underwent a metropolitan revival in the late 1950s. The plan suggests that review can be carried out through blaming and changing the racist plan in her area.
Gertrude Abercrombie, Eliminate the door, 1964; Acquisition at Illinois State Gallery
