Heather Hutchison: Seeker

Heather Hutchison’s Living Light

By Eleanor Heartney

“All that is solid melts into air.” So said Karl Marx in a completely different context. But that evocative sentence might serve as a description of Heather Hutchison’s luminous constructions. They shift and shimmer, as if pure light and color had been captured and sealed within shallow plywood boxes. From the outside, the boxes are solid, workaday and finite, but inside they seem to have expanded to contain indeterminate depths. Their mysterious contents respond to the surrounding light and change as the viewer moves. Inside the boxes, light emanates from diffuse bands of color, seeps through translucent orbs and bounces off rippling waves. Forms are evoked but refuse to completely resolve. Instead, like half recovered memories, they conjure the mere suggestion of glowing sunsets, reflective waters, mist covered hills, moonlit plains, low lying fog and recently the blaze and smoke of wildfires and cloud feedback. But these works are by no means meant to be read simply as landscapes. Rather than describing nature, they evoke what more accurately might be described (at the risk of sounding corny) as the soul of nature. Nature here is meant in the largest and most encompassing sense, akin to what Emerson described as a state of one-ness and unity between inner and outer realities. He reports a state of egolessness in

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

which “I become a transparent Eyeball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or particle of God.” Hutchison does not espouse any such western concept of God, but she affirms a spirituality that derives from a sense of connection with the animate, ever changing forces that make up the world that has made us.

Part of the magic of these works is that they are rooted in paradox. They adopt the outward format of the minimalist box, but transform it into a carrier of mysterious energies. They employ the language of abstraction but are rooted in the experience of the natural world. They glow as if from an internal illumination but depend only on available light. And while they achieve the dematerialization of matter into light and color, they emerge from a long and intense engagement with prosaic and unorthodox materials. Like any good magician Hutchison resists revealing the mechanics behind these works, but notes that over the years she has employed gels, beeswax, mirrors, mylar, duct tape, aluminum flashing, plexiglass and reflective paint. Through experimentation and serendipity she has discovered ways to manipulate these materials to create all manner of evocative effects.

Hutchison’s work has evolved over time to encompass major life experiences like love, joy, loss and death. But they also offer a response to momentary sensations like the fall of light from a window or the flicker of reflections as a breeze passes over the surface of a lake. From the beginning she has sought to expand painting into the realm of time, using it to create a sense of movement and flux. Early

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches

minimalist shadow boxes employed the light absorbing qualities of beeswax to suggest light weaving from the horizontal bands of venetian blinds or dancing over reflective surfaces. Always experimenting with new effects, she went on to explore the ability of clear and scored plexiglass to conduct and distort light and experimented with the properties of gels and other mediums to more effectively diffuse color across the surface of her works. At one point she abandoned the framing box altogether in order to let light play freely over bent plexi constructions. She also created installations within existing outdoor architecture and windows and explored the use of time lapse films which allowed her to capture the fleeting changes brought about by changing light conditions. For a long time her works were dominated by horizontal bands of light and color that bled into each other or were demarcated by the hard edges of tape or strips of paint. But in all these works any effect of solidity melts when the viewer moves or the ambient light shifts across the surface.

Betsy Eby

In The Moment It Was All She Knew, 2022

More recently Hutchison has been introducing curves, arcs, orbs, swaths and arabesques into her boxes. These accentuate the illusion of depth and draw the eye into a multi-dimensional space. In some works, such forms are created by mylar and flashing shaped to billow, ripple or suggest whiplash lines. Others present overlapping curves or mounds. One persistent motif is the full or partial orb. These figures add to her repertoire of landscape references. They suggest clouds, gentle mountains and hills, waves, and depending on the play of color, glowing suns or translucent moons. Conventional thinking assigns distinct identities and properties to such entities - clouds are vaporous and ephemeral, mountains solid and

Oil, hot wax and cold wax on panel

50 x 44 inches

The most recent works here originated in a residency in Bisbee, Arizona, a town which has loomed large in her life. Hutchison’s connection to Bisbee and to the American Southwest is fundamental to her work. During her formative years, she and her family lived in and operated a grand hotel in this former mining town near the Mexican border. In the early 1970s, Bisbee was a magnet for creative types fleeing more orthodox lifestyles, and young Heather was exposed to artists, writers and other visionaries. These gave her permission to think of herself as an artist and she notes that she began her first studio practice there at age 10. When Hutchison was thirteen her family left Bisbee, but in her adult life Hutchison has returned there annually.

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches mostly unchanging, moons constantly waxing and waning, suns rising and setting and waves both mutable and material as they are pulled here and there by the forces of gravity. But for Hutchison, they easily shift into each other, both in terms of their forms, but also, at a more basic level in their essences, as air, water and earth shape and are shaped by each other. With these works, Hutchison transitions from the sense of calm and stillness induced by the horizontal format of her earlier work. The new elements introduce greater movement and flux, reflecting the growing sense of impermanence and chaos that pervades nature in a time of climate change.

Betsy Eby

Following an adolescence moving around California and Oregon with her family, Hutchison struck out on her own. Her artistic ambitions took her first to the San Francisco Bay area and then in 1986 to New York City, where, though essentially self taught, she achieved an impressive exhibition history. Since 1996 she has lived in Woodstock in upstate New York. But while the more circumscribed skies and forested light of the Hudson Valley find expression in her work, she retains a kinship with other artists whose work bears the imprint of the expansive space, endless skies and peculiarly translucent light of the American West. One thinks for instance, of California native Christopher Wilmarth whose glass and steel constructions trapped and reflected light. Or of Agnes Martin, a transplant to New Mexico who transformed the minimalist grid into luminous bands and vibrating nets. Another antecedent is the California Light and Space Movement, a loose collection of artists who in the 1960s explored the properties and perception of ambient, reflected and radiant light. And one also feels here echoes of the earlier Transcendental Painting Group, a mid 20th century movement based in New Mexico whose most prominent member, Agnes Pelton, has recently been rediscovered and celebrated. Pelton’s shimmering nature based abstractions seem to glow from within, creating a kind of mystical pictorial space. Her intentions, as she described them in 1929, seem to chime with Hutchison’s. She remarked, “Those pictures are like little windows, opening to the view of a region, much visited consciously or by intention—an inner realm, rather than an outer landscape.”

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Casting further back, Hutchison draws on the traditions of Romanticism and Luminism. Like Romantic precursors such as J. M. W. Turner, Thomas Cole, and Casper David Friedrich, she expresses the sublimity of nature as a realm that both enfolds and at times overwhelms us and that can serve as a metaphor for subjective emotions. Like Luminist painters such as Martin Johnson Heade and John Frederick Kensett, she explores the contemplative side of landscape with a focus on luminosity, atmosphere, stillness and reflection. Hutchison brings these ideas forward into our own turbulent times, marrying a minimalist inspired simplicity with a sense of the ever shifting nature of reality and consciousness.

In the end, Hutchison’s essential material is light. This is the medium through which she realizes her works, and is ultimately also her subject. Throughout all cultures, light (and its twin, darkness) carry mystical import. Light is the source of all colors. It is the embodiment of spirit, divinity, intelligence, understanding and goodness. It is also the energy that makes life possible. It is at once a powerful symbol and a vital necessity. Transmuting her experiences and emotions into pure light and color, Hutchison creates meditative spaces where we might pause and reinforce our own connections to earth, sky and spirit.

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches

The Moment It Was All She Knew, 2022

Betsy Eby

Oil, hot wax and cold wax on panel

50 x 44 inches

DUMBO, Brooklyn 1993, photo credit: Kathryn Millan

16 x 18 x 3 5/8 inches

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchson

Atmospheric River, 2025

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, gels, birch plywood box

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, gels, birch plywood box

16 x 18 x 3 5/8 inches

In The Moment It Was All She Knew

Betsy Eby

Oil, hot wax and cold wax on panel

50 x 44 inches

16 x 18 x 3 5/8 inches

Heather Hutchison

Calliope, 2025

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, gels, birch plywood box

In The Moment It Was All She Knew, 2022

Betsy Eby

Oil, hot wax and cold wax on panel

50 x 44 inches

9 x 24 x 3 3/4 inches

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

Fortune’s Turn, 2025

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, birch plywood box

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

A Dios, 2024

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, gels, clay, birch plywood box

23 1/2 x 25 1/2 x 3 5/8 inches

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, gels, aluminum, birch plywood box

23 1/2 x 25 1/2 x 3 5/8 inches

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel

Betsy Eby

50 x 44 inches

Heather Hutchison Mound Memory, 2024

12 x 13 x 3 5/8 inches

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison Mountain Wave, 2024

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, gels, birch plywood box

16 1/2 x 52 3/4 x 3 3/4 inches

Heather Hutchison Night Break, 2023

Mixed media, reclaimed Plexiglas, flashe, graphite, tape, vinyl, birch plywood box

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

42 3/4 x 71 3/4 x 3 3/4 inches

Heather Hutchison

From Here, 2022

Mixed media, reclaimed Plexiglas, flashe, tape, vinyl, birch plywood box

Betsy Eby

In The Moment It Was All She Knew

Oil, hot wax and cold wax on panel

50 x 44 inches

Deforestation, 2019

media, reclaimed

16 7/8 x 27 7/8 x 3 3/4 inches

Heather Hutchison

Mixed

Plexiglas, flashe, tape, vinyl, birch plywood box

Betsy Eby

In The Moment It Was All She Knew

Oil, hot wax and cold wax on panel

50 x 44 inches

More Like the Weather Faith, 2015

16 x 17 x 4 3/8 inches

Heather Hutchison

Flashe, Aura and Enamel on Plexiglas

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

More Ice, 2013

Plexiglas, enamel, Pantone paper

9 3/4 x 10 3/4 x 4 1/4 inches

Oil, hot wax and cold wax on panel 50 x 44 inches

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison Interaction, 2009-2011

Plexiglas, beeswax, birch, pigment, enamel

15 1/4 x 26 1/2 x 2 1/2 inches

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Betsy Eby

Heather Hutchison No Wind, No Waves, 2006

Plexiglas, beeswax, birch, graphite, pigment, enamel

5 panels total: 23 3/4 x 118 1/2 x 2 1/2 inches

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel

50 x 44 inches

Betsy Eby

In The Moment It Was All She Knew, 2022

30 x 30 x 2 1/2 inches

Betsy Eby

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

Limen, 2005

Plexiglas, beeswax, birch, pigment, enamel

Three Harmonies, 2003

Plexiglas, beeswax, birch, graphite, pigment, enamel

71 x 98 x 3 1/2 inches (triptych)

In The Moment It Was All She Knew, 2022

Betsy Eby

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

Emptying Into White, 2002

Plexiglas, beeswax, pine, pigment, enamel

16 x 20 x 2 3/4 inches

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Betsy Eby

Heather Hutchison

The Moment It Was All She Knew

Betsy Eby

, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

The Same as Me, 2000

Plexiglas, beeswax, birch, pigment, enamel

40 x 40 x 3 3/4 inches

In The Moment It Was All She Knew, 2022

16 3/4 x 10 3/4 x 3 1/2 inches

Betsy Eby

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

Tronar, Tornar, 1995

Plexiglas, beeswax, birch, pigment, enamel

30 x 8 x 3 3/4 inches

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison Cross Currents, 1992

Plexiglas, beeswax, birch, graphite, acrylic

Westside Highway II (Cloud Series), 1991

Plexiglas, beeswax, pine, graphite, acrylic, oil paint

11 1/2 x 11 1/2 x 3 3/4 inches

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

19 7/8 x 20 x 2 3/4 inches

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

Heather Hutchison

Venetian Bisbee, 1989

Beeswax, plexiglas, acrylic, birch

HEATHER HUTCHISON

1964 Born in Corvallis, Oregon

Lives and works in Woodstock, New York

SOLO EXHIBITIONS & INSTALLATIONS

2025

Heather Hutchison: Seeker, Winston Wächter Fine Art, NY, NY

2023

Heavenly Stones and Earthly Stones, 57w57Arts, NY, NY

From Here to Here, Bentley Gallery, Phoenix, AZ

2022

Where the Light Slips In, Louis Stern Fine Art, Los Angeles, CA

2020

Mid Air, Winston Wächter, NY, NY

2019

Heather Hutchison: In Praise Of Shadows, 11 Jane Street Art Center, Saugerties, NY

2018

Heather Hutchison: Forever Changes, Alfstad & Contemporary, Sarasota, FL

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

2017

Glowing, Louis Stern Fine Art, Los Angeles, CA

2016

What I Learned From the Sky, Winston Wächter Fine Art, NY, NY

2014

Heather Hutchison: Here Now, Cross Contemporary Art, Saugerties, NY

2013

Occupied Space, Imogen Holloway, Saugerties, NY

2012

Hot Flash, Imogen Holloway, Saugerties, NY

2011

Studies in Light 1991-2011, WFG Gallery, Woodstock, NY

2009

Dissolution, Samuel Dorsky Museum of Art, New Paltz, NY

2007

Black and Light, Kleinert James Center for the Arts, Woodstock, NY

2006

Night as Clear as Day, Margaret Thatcher Projects, NY, NY

2003

Sheer Painting, Margaret Thatcher Projects, NY, NY

1995

Daily Thoughts for Daily Needs, Nohra Haime Gallery, NY, NY

1994

Translucid Passages, Nohra Haime Gallery, NY, NY

1993

Bold as Love, Patricia Shea Gallery, Los Angeles, CA

1992

Cross-Currents, Shea & Bornstein, Los Angeles, CA

1991

Five Easy Pieces, Jamison Thomas Gallery, NY, NY

1990

The Density Series, Jamison Thomas Gallery, NY, NY

1989

Heather Hutchison, Bess Cutler Gallery, NY, NY

SELECTED GROUP EXHIBITIONS

2024

A Survey Exhibition, Louis Stern Fine Arts Through the Decades, Los Angeles, CA

2022

Framing the Stretcher, Mizuma & Kips, NY, NY

Lumen, Albany Airport Rotunda Gallery, Albany, NY

A Sense of Place: Artists from the Woodstock Masters Series, Byrdcliffe Colony, Woodstock, NY

2021

Chromatic, Bentley Gallery, Phoenix, AZ

2020

On the Same Wavelength, Louis Stern Fine Art, Los Angeles, CA

2018

Beyond Black & White, Westbeth Gallery, NY, NY

2015

In This Light, Lesley Heller Workspace, NY, NY

2012

The Sky is Falling, Kleinert-James Art Center, Woodstock, NY

2011

Obsessive/ Reductive, College of the Canyons Gallery, Santa Clarita, CA

Living Here, Karma Triyana Dharmachakra Monastery, Woodstock, NY

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel

50 x 44 inches

2009

Ecotones and Transition Zones, Samuel Dorsky Museum, New Paltz, NY

2008

Regarding Global Warming and Climate Change, The Fisher Studio Bard College, NY

2005

Melting Point, Samuel Dorsky Museum of Art, SUNY New Paltz, NY

This is not an archive. This must be the place, The Center for Curatorial Studies Bard College, NY

2000

Waxing Poetic: Encaustic Art in America, Knoxville Museum of Art, Knoxville, TN

1999

Waxing Poetic: Encaustic Art in America, The Montclair Art Museum, Montclair, NJ

Transparent Facade, Otis College of Art and Design, Los Angeles, CA

Gridlock, Concerning the Grid in Contemporary Art, University of Rhode Island Fine Arts Center, Kingston, RI

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

1998

Get Close, Marymount Manhattan College Gallery, NY, NY

Section 33, Dumbo Arts Center, Brooklyn, NY

1997

New York Next Generation, Museo d’Arte Contemporanea, Perugia, Italy

Invitational, Knoedler Gallery, NY NY,

Hutchison, Manes, Pietrosanti, Galerie Extra Moenia, Todi, Italy

1995

Permanent Collection Exhibition, The Brooklyn Museum, Brooklyn, NY

44th Biennial Exhibition of Contemporary American Painting, The Corcoran Gallery of Art, Washington, DC

1993

Larry Bell & Heather Hutchison, Tavelli Gallery, Aspen, CO

1992

Transparency and Shape, Elga Wimmer Gallery, NY, NY

New York Selections, Sunrise Museum, Charlestown, West Virginia

1991

Three Women, Tavelli Gallery, Aspen, CO

Current Minimalists, Atlanta Arts Festival, Atlanta, GA

1990

Homage to the Square, Nohra Haime Gallery, NY, NY

1989

The Art of the Contemporary Triptych, Jamison Thomas Gallery, NY, NY

FELLOWSHIPS & AWARDS

GOTTLIEB FOUNDATION, Individual Support Grant (2019, 2011)

POLLOCK-KRASNER FOUNDATION, Grant (2012)

NYFA S.O.S. Grant (2009)

ANONYMOUS WAS A WOMAN, Emergency Grant (2020) PUBLIC COLLECTIONS

The Smithsonian Institution, Washington, D.C.;

The Hammer Museum, Los Angeles, CA;

Brooklyn Museum, Brooklyn, NY; Birmingham Museum of Art, Birmingham, AL; Harvard Business School, Boston, MA; Art in Embassies, Beijing, China; Arkansas Art Center, Little Rock, AR;

Avampato Discovery Museum, Charlestown, WV

SELECTED BIBLIOGRAPHY

PIETRO BELLASI. “New Abstraction and Abstract Society,” TEMA CELESTE, Jan.-March,1992, illustrated.

FAUSTO BELLIA. “La´ Dove é stato il dolore, ora ci sara´ l’ arte,” La Nazione (Umbria), August 8, 1997.

MEREDITH BERGMANN. “Reviews: Heather Hutchison,” THE NEW YORK REVIEW OF ART, May 1994.

AMY ESHOO. 560 BROADWAY, A NEW YORK DRAWING COLLECTION at WORK, 1991-2006, (2008) Yale University Press.

PETER FRANK. “Transparent Facade,” LA WEEKLY, October, 1999.

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches

JOHNATHON GOODMAN. “Painting Outside Painting (Exhibition review)” ART NEWS. April 1996.

DIEDRE STEIN-GREBEN. “Exhibition Review,” ART NEWS, December 1997.

ELEANOR HEARTNEY. “Exhibition review,” ART NEWS, December 1990 illustrated.

ELEANOR HEARTNEY. “Heather Hutchison, Living Light,” Winston Wächter Fine Art, exhibition essay, March 2025.

ELEANOR HEARTNEY. “In Praise of Shadows,” Jane Street Arts, Saugerties, NY exhibition essay, August, 2019.

KEN JOHNSON. “Art in Review,” THE NEW YORK TIMES, August 14, 1998.

KEN JOHNSON. “Weekend, Art in Review,” THE NEW YORK TIMES March 14, 2003.

CHRISTOPHER KNIGHT. “Light & Space Pieces-Coming From New York?,” LOS ANGELES TIMES, Sept. 16, 1999.

Betsy Eby

In The Moment It Was All She Knew, 2022

Oil, hot wax and cold wax on panel

50 x 44 inches

JO ANN LEWIS. “Painting Outside the Lines,” THE WASHINGTON POST,1995. Illus.

JOANNE MATTERA. The Art of Encaustic Painting (2001) pp.6,10,11,76,78,79,104,107,120. illustrated. Watson Guptill.

JOHN MENDELSOHN. “Framing The Stretcher: Adventures and Misadventures of an Idea”. DART International Magazine, October, 2022. Illustrated

CINDY MOORE. “Capturing the Beast in the Beauty,” NY ARTS, 2006, illustrated.

ROBERT MORGAN. “Three New York Reviews,” LUSTY MOVER, Fall 1992.

VALERY OISTEANU. “Invitational ‘97,” NY ARTS MAGAZINE,1997 illustrated.

SAUL OSTROW. “History Is Now,” THE NEW ART EXAMINER, March 1996.

DAVID PAGEL. “True Colors,” Bentley Gallery, Dec. 2021. Exhibition essay.

GEORGE QUASHA. “boxed light bodies,” Margaret Thatcher Projects, January 2006, exhibition essay.

LISSA RANKIN. Encaustic Art (2010) pp. 66-67. illustrated. Random House.

CHARLES A. RILEY II. THE SAINTS OF MODERN ART: THE ASCETIC IDEAL IN CONTEMPORARY PAINTING, SCULPTURE, ARCHITECTURE,DANCE,MUSIC, LITERATURE, and PHILOSOPHY, (May 1998) pp. 115-116, 148. Univ. Press of New England.

BARBARA ROSE. “Heather Hutchison with Barbara Rose,” The Brooklyn Rail, March 2020. Illustrated.

SUE SCOTT. “Daily Thoughts for Daily Needs,” Nohra Haime Gallery, Sept. 1995. exhibition catalogue. Illustrated.

JOANNA SHAW-EAGLE. “Painting Beyond Traditional Limits,” THE WASHINGTON TIMES,1995.

PETER SLATIN. “Intuitive Perception “ ARTNEWS, May 1993, pp. 141. Illustrated.

ROBERTA SMITH. “Art Review;Testing Limits at the Corcoran”. THE NEW YORK TIMES. January 6, 1996, Section 1, p.11.

GAIL STAVITSKY. “Waxing Poetic (Encaustic Art in America,)” MONTCLAIR ART MUSEUM, pp.47-48. exhibition catalog. Illustrated.

DEIDRE STEIN. “Heather Hutchison Gravity and Light,” ARTNEWS, April 1994, pp.101-102. Illustrated.

TERRIE SULTAN. “The Rapture of Materiality,” THE CORCORAN GALLERY OF ART BIENNIAL EXHIBITION OF AMERICAN PAINTING, December 1995, pp.18-23. exhibition catalog. Illustrated.

REGAN UPSHAW. “New York Review,” ART IN AMERICA, July 1994, p. 98. Illustrated.

LILY WEI. “Transparent Facade: From New York to Los Angeles,” OTIS COLLEGE OF ART AND DESIGN, 1999, exhibition catalog. Illustrated.

JEFF WRIGHT. “Passages of Light,” COVER MAGAZINE, October 1995, p. 10. illustrated.

WILLIAM ZIMMER. “Wax as Medium and Message,” THE NEW YORK TIMES, June 6, 1999.

Betsy Eby In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches

Heather Hutchison’s Living Light Essay by Eleanor Heartney

Eleanor Heartney is a critic and curator based in New York. She is a Contributing Editor to Art in America and Artpress and has written for many other publications. She received the College Art Association’s Frank Jewett Mather Award for distinction in art criticism in 1992. In 2008 she was honored by the French government as a Chevalier dans l’Ordre des Arts et des Lettres. Her books include: Critical Condition: American Culture at the Crossroads; Postmodernism, Postmodern Heretics: The Catholic Imagination in Contemporary Art; Defending Complexity: Art, Politics and the New World Order; Art and Today; and Doomsday Dreams: the Apocalyptic Imagination in Contemporary Art. She is a co-author of After the Revolution: Women who Transformed Contemporary Art, and The Reckoning: Women Artists in the New Millennium.

Betsy Eby

In The Moment It Was All She Knew, 2022 Oil, hot wax and cold wax on panel 50 x 44 inches

Heather Hutchison: Seeker

April 17th - May 31st, 2025

Winston Wächter Fine Art 530 West 25th Street New York, NY 10001

(212) 255-2718

nygallery@winstonwachter.com

Essay by Eleanor Heartney

Photography by David Schulze

Catalog Design by Nóra Reynolds