SEAMED PAINTINGS
Conceptually Houston stitches white gessoed canvas and the warm tones of the Belgian Linen to initiate the composition. The stitches pulled tight became the visual texture of the black spruce and tamarack along the horizon she imagines far in the distance. Positioning of the horizon line, the canvas is stretched and set for painting. The ‘painted colour’ of the canvas (sky) meets the linen (ground) begins the positive/ negative start to the composition leaving unpainted areas to create a tension between representational specificity and the space of unpainted canvas.
