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DOROTHY HOOD (1918-2000)

ARTIST BIO INQUIRE
 
For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery.
For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery. For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery.
The Face in the Sea1970s70 x 60 in.(177.8 x 152.4 cm) oil on canvas
Provenance
Dorothy Hood Estate
Dorothy Hood Estate Holdings, Art Museum of South Texas Corpus Christi, Texas, acquired from the above, 2001
McClain Gallery, Houston, Texas
Exhibition
Houston, Texas, University of Houston Libraries, Dorothy Hood: The Edge of Being, August 2022 - March 2023

75,000

For Hood, the sea and the infinite expanse of the cosmos are reflections of one another. They embody the formidable force that is alluring to the mind and flaunts our illusions of being in control. The void is a limitless, primal force that transcends our comprehension of its true nature. For Hood, the challenge of framing the infinite within the finite boundaries of a canvas became her life's work. In The Face in the Sea, the stark black areas create the impression of negative space, much like the vastness of space itself, where improvised red bursts are like celestial phenomena; nebulae, comets, and galaxies and emerge within that void. The sharp edges of black act like event horizons that obscure and yet define, hinting at unseen dimensions beyond, a void reflecting space's disorienting vastness. The effect is cosmological and psychological, a work that captures the thrilling duality of space, infinite potential met with unknowable mystery.
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