Artist, Elizabeth Murray: The paintings I was working on when I was doing this were all about working right to the edge, and that tension between a shape just coming right to the edge and bumping up right to the edge so that you could really feel it.
To me, it's sort of excruciating and it's sort of teasing the edge. And sometimes it's just a very nice, light, gentle boop along the edge. And those were the kind of tensions that I wanted to make in the paintings then. This painting, really does that for me, because there's a way where you can kind of complete the circle. But not quite, because it sort of bloops off the bottom edge and you can feel it coming around.
I think the part of the painting that interests me the most now is that place in the corner where the white dot sort of takes you back into sort of an infinity idea.
It's always hard for me to use black. And whenever I start to use it or contemplate using it, I go back and forth with it for a long time. Because it's like a real space. When you put black in, something happens. And it's very psychological.
I think that people who saw work I'm doing now would see a relationship in the colors and I think they would see similar forms.
I enjoy this painting, and I think there are real connections. I mean, in a way, I'm still exploring these shapes and how they relate to each other.