Ginny Bishton

Richard Telles Fine Art

The question of how things grow is not unlike the question of how things come to be. In Ginny Bishton’s photocollage on vellum, a thing of wacky wonder, the grids of individually cutout color photographs of fruits and garden vegetables—asparagus, squash, red peppers, yellow tomatoes, bananas, blueberries, cherries, potatoes, mushrooms, kiwi, limes, cabbage, string beans—can be seen at once as a garden, a commentary on color theory and the abstract nature of the world around us, and a flag staking out Bishton’s turf. When viewed in conjunction with her drawings, the collage’s exploration of the connections between home and studio; craft and art; and the weird, interconnected realities of abstraction and realism (especially in relation to processes of living and making) all emerge, making the work a shrewd take on the tradition of still life.

Of course, many of these concerns are only ways

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