new-york

Joana Rosa

John Weber

Doodling is an obsessive activity, yielding images that are transitory, private, open-ended, repetitive—a visual stream of consciousness. “Doodles,” Joana Rosa’s second so-titled show in New York, made witty and graceful use of this fragile art form. Elaborating a strategy familiar to all compulsive fillers of blank space, she chose a few emblematic figures and drew them over and over, seeking to understand exactly how they were made.

Rosa’s first figure was a ballerina, clad in toe-shoes and black leotard, a leggy, sinuous creature that might have been lifted from a dancewear catalogue illustrated by Edward Gorey. Indebted to fashion sketches but imbued with a restless energy of their own, the dancers stretched, pirouetted, and contorted themselves across translucent sheets that had been worked with white correction fluid. The penciled lines were lush and precise, animating the attenuated

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