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The forms that emerge out of Elizabeth Murray’s chaotic tussle of shapes also reference nature. In Riverbank, 1997, yellow-green foliage and red wood appear to be surrounded by a flowing stream, as if the river and the bank have merged. For Murray, abstraction employs the same devices that others here have used — isolating common objects, breaking them apart, and reordering them — until the composition reflects the flow of the river and the syncopation of contemporary experience.
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