Artistry
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that I reference daily in my architecture
igins of architectural draftsmanship, where
is seen in architecture, as well. A building is
practice,” she says
students used protractors and rulers to cre-
not one whole, but a sum of its units—col-
While neither her paper works nor her
ate the illusion of 3D spaces. The edges and
umns, beams, windows, doors—copied and
paintings resemble architectural blueprints,
angles in her paintings are so sharp that they
pasted to create a composition.”
the spatial relationships reflected in them—
almost look kinetic—a feat, considering all
To Pinkerton, art and architecture are
the paper units’ varying heights and depths,
of her paintings, though sketched and sten-
two sides of the same coin. She says, “Even
and the hypercalculated snippets of bare
ciled, are painted freehand. “Each polygon of
though I attribute many of my artwork con-
canvas in her paintings—are like those seen
color is individually painted and treated as a
cepts to my architecture study, there is no
in the diagrams of building interiors. Her
structural unit in relation to their monoto-
denying that the obsession with color and
paintings’ exactitude recalls the analog or-
nous and repetitious whole,” she says. “This
creativity runs through my blood.”
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