Karen Seapker, The Sower, 2020, oil on canvas, 72 × 60".

Karen Seapker, The Sower, 2020, oil on canvas, 72 × 60".

Karen Seapker


On March 2, in her Nashville studio, Karen Seapker took stock of fourteen artworks, an ambitious series of quasi-abstract paintings completed over the course of the past year. The large-scale works were scheduled to be delivered to Zeitgeist the following day for the artist’s third solo exhibition at the gallery. But just before 1:00 AM, a devastating tornado tore through the city, killing dozens of residents and ripping through the roof of Seapker’s studio building. After the storm passed, the space was found to be structurally unsound and flooding, but the paintings were mostly unharmed (Seapker was among the neighborhood’s luckier tenants), so the canvases were carried out that morning. This tumultuous prelude to the opening of Seapker’s show, uncannily titled “Circuities,” underscored the precarity of existence, the very subject of her exhibition. In canvases swirling with gesture and

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