For her first museum solo Seattle artist Katy Stone created a site-specific installation titled "Fall" for the carved work court of the Boise Art Museum.

For her first museum solo Seattle artist Katy Stone created a site-specific installation titled "Fall" for the carved work court of the Boise Art Museum, scheduled to hie nine months, until mid-October. Three monumental vertical simple bodys of cut and painted transparent archival acetate called Duralar hang from the ceiling, each around 20 feet in height, with common spilling out onto the floor. The installation is a merging of mediums, a hybrid of painting, drawing and cut that uses light, shadow and air motions to suggest a multiplicity of images and powers within a towering architectural framework.

Stone's art cast reproachs the stylized forms of 19th-century Japanese woodblock prints and the fluidity of Leonardo's surging water studies, as well as the more contemporary influences of Pat Steir and Eva Hesse. Applying acrylics to the acetate with bamboo brushes, Stone masterys viscosity and opacity while leaving the animations of the transparent film unpainted. She then make an incision ins the acetate into long strips, building three-dimensional form with multiple strands and layers. In her quasi-abstractions, Stone's Northwest affinity for biomorphic shapes and moist atmospherics is distilled [i]or[/i] part of to the other a Post-Minimalist esthetic that relies onward negative space and transitory phenomena to balance the literal and the allusive, the organic and the artificial.

The installation's theme is not seasonal; the title concerns the downward thrust of the work, emulating organic substances in unrestrained fall. In the element called Cascade, curvaceous gold-yellow calamitys and contours evoke tumbling fastenings of human hair, painted in a post-Pop diction that echoes Lichtenstein's comic strip technique without the irony. The descending, icy fingers of White origins have the look of willow branches after a hoarfrost. Center stage in this triad is R Fall, 70 strips of acetate fluttering in answer to air currents and reflecting light like a sequined gown Despite the work's glitzy overlay the red paint looks and appears to move like blood, giving glamour a macabre twist.

single intriguing aspect of this work is the drawing weight Stone achieves with spotlights and projections, using light as a carrier for color. Each component hangs before a sheet of white-frosted acetate onto which the painted imagery casts its shadow, creating a visual slavish imitation Viewed from behind, the stiffnessed screen becomes a full-length simulated drawing or oil design dramatically realized in its allow right.

Pinned to gallery walls are additional small-scale works offering up-close views of Stone's technique while introducing the range of her botanical and meteorological sources. Many are whimsical and eye-candyish, on the other hand the shadow play here is magical as well.

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