On an immediate level, Rebecca Shore’s paintings are impeccably rendered arrangements of ribbons, strings, hoops, chains, and the occasional tassel: They seem to collect emblems of decor, suspending them above and between bold monochromatic forms of a vaguely Victorian persuasion. (The artist’s maternal grandparents were born in the late 1800s, and their various home warescandlesticks, saltshakers, and the like––left a lasting impression.) The patterns that emergeeach the result of Shore’s dedicated preservation of a consistent interval between her motifs––are visually captivating variations on symmetry, or asymmetry. A closer look at Shore’s fastidious constructions revealed moments of divergence. One ribbon’s curl is shorter than that of its (approximate) mirror image, while the almondine shape created when a string passes through a loop is larger on one side than
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