You can see how Violet used rectangles and varying colors to

Result #1

represent the rootlessness of modernity, as it attempts to represent the world as it exists today. She was a kind of playful, obsessive abstractionist, whose work is about the intersection of the abstract and the human.

Result #2

You can see how Violet used rectangles and varying colors to play with the idea of an asymmetrical line. They are not only the framework for a drawing, they also serve as the framing for the drawing. This is also true of the painted wood pieces, which also imply an architecture. In both cases, the lines are framed by the drawing; the rectangles are framed by the architecture. These are two aspects of the same concept, but they are not inseparable. The lines are like the thin line that crosses an asymmetrical plane, which is also the line of the drawing. In the painting, the lines are like the thin edge of a piece of wood that has been cut. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing. In the painting, the lines are like the thin edge of a piece of wood that has been cut. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing. But the lines are like the lines of the drawing. The drawing is like the thin edge of the line, which is the line of the drawing.

Result #3

You can see how Violet used rectangles and varying colors to flesh out the contours of the body, and how she applied the same kind of material to the bodies of the seated figures, giving them a skeletal, skeletal, or not quite human presence. But the figures are not only skeletal, but also muscular, as in the bronze series of the 80s, which shows women holding poles, poles, and sometimes statues of women. In contrast, the recent black-and-white photographs of the men in the show are not quite skeletal, but also muscular, as in the bronze series. And the black-and-white photographs are also not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs, as in the bronze series, are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series. The black-and-white photographs are not quite skeletal, but also muscular, as in the bronze series.

Result #4

create a sense of space and shape. She also made them a visual pun on the unities of the universe, a couple of intersecting planets and moons. Violet also painted on the surfaces of the rectangles to create a kind of diagonal pattern, but it was hard to find the figure in the picture; the figures were lost against the gray, which was a kind of dark or invisible background.The colors were the same as the rectangles, but the rectangles were surrounded by a thicker black background. Violet made the rectangles into shadows, and the rectangles seemed to be in the foreground of the picture. The black was also an element of the rectangle, making the rectangles seem to be floating in space. The black is a kind of color that makes the background invisible, making the rectangles appear to float. In fact, the black was the most subtle element in the work, and it was the most difficult thing to see. The rectangles were not really shadows, but were painted in the exact same way. The black was also very subtle, but in this case it was the only color that seemed to matter. The only colors that mattered were the rectangles, which were also black, and were painted on the same gray surface.The rectangles, rectangles, and shadows were all just another kind of drawing, and Violet painted them in a kind of gestural way. The artist had a lot of fun making them. They were very playful, and they were a kind of visual delight.

Result #5

You can see how Violet used rectangles and varying colors to define the forms, how she was able to use them to create a sense of depth, how she was able to render the forms on canvas with the precision of a brush. Violet also uses the brush to paint and to sketch lines of color. She also uses the brush to mark out the edges of the rectangles she is working with, to create a sense of space and to indicate the distance between them. Violet uses a palette knife to draw in pencil lines of color, and also to mark out the edge of the rectangles she is using.The most obvious way to see these paintings is to look at them in a vacuum. They are not painted, but rather they are drawn on canvas. The canvas is not a support, but a kind of plane that is different from the support itself. Violet is able to draw a line of color, but only in this case to mark out a rectangle. The palette knife also acts as a brush. Violet uses this tool to draw shapes and lines of color, and they are arranged in a way that allows the brush to be used as a brush. The brush strokes are also marked in pencil. In another painting, Violet uses a brush to draw a rectangle, but one that is only a rectangle because it is not painted. It is painted, but it is a brushstroke. The brushstrokes are even more direct than the brushstrokes of color. Violet is able to paint without the support, to paint without the canvas. She is able to use the paintbrush to create a color space that is not painted. The paintbrush is used to draw the line of color. The brushstrokes of color are not painted. The paintbrush is used to draw a rectangle. It is a rectangle, but it is not a support. It is a canvas that is stretched over the support, but not a canvas. Violet is able to paint a rectangle on the canvas and still use it as a support.