attention to direct the survival instinct within the urban jungle. In “Morphing the Spirit and the Soul”, Bosworth delivers a more overt sexual depiction of sorts. This painting emits a female body aura. Feminine overtones are produced by the impressionistic floral depictions and the curvature of a compelling and profiled nude. The flesh tone accents reinforce the human form while the protruding organic curve on the top right aligns as some sort of bust. A contemporary portrayal of the famous Venus of Willendorf? When Bosworth decides to add color to the backgrounds of her paintings, instead of leaving them white or canvas color, the hue of choice weighs heavy with coded intentionality. The black and dark fillers overwhelm the paintings with an air of depression; moody and emotional voids that float the image in a hyperbole of downheartedness that seems to satisfy the multi-eyed being with some gothic delight. “All Memory Can Do Is Scream for Touch” has a wisp of movement from the white sweeps that come off the cosmic ciliate. The blue background reinforces the movement by acting as a water source. The ripples reverberate off the “alien”. A cerulean liquid provides a home for the specimen that would fascinate even Jacques Cousteau. My favorite of the triptych of paintings that have no background color is the centered “Giving Birth to Yourself”. A strong vertical composition is unruffled in this floral entwinement of eyes and flower pedals. The creepers make an outline that reminds me in a ‘quasi-religious’ sensibility of the holy depiction of the Our Lady of Guadalupe…The shroud, the
Opposite Page: “Morphing the Spirit and the Soul”, Oil on Canvas, 18” x 24”, 2017, $750 Top: Detail of “Giving Birth to Yourself” Middle: Detail of “You Are An Aperture Through Which The Universe Is looking At” Bottom: Detail of “You Are An Aperture Through Which The Universe Is Looking At”
CONTEMPORARY TEXAS The Fine Arts Magazine /
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