Creation Series, 1972-1974

Creation Series, 19721974

Isham’s activated surfaces, whorls of color sprayed in various densities, underpin a statement she made with regard to her drive to express a total surface environment: “I cherish the surface of my work; that it should have a strong tactile stimulation is therefore part of the impression, but naturally the surface is held in restraint and is subordinated to the total image.” Her continued study of ancient Chinese practices, both of philosophically based meditation and poetic texts, can be understood not only from her titles, derived from the ideograms I Ching, but also from her striving toward dematerialization of form in these works and the overtaking of chromatic atmosphere. Spraying over found objects, one perceives a hint of form as striations of white embedded in waves of color, a kind of incorporeality made manifest in explosions of color.