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DOROTHY HOOD (1918-2000)

 
As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death." As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death." As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death." As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death." As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death." As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death." As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death."
Gravity's Rainbow IIc. 199470 x 60 in.(177.8 x 152.4 cm) oil on canvas
Provenance
Estate of the Artist
Private Collection, Houston
Exhibition
Houston, Texas, Lynn Goode Gallery, Dorothy Hood, curated by Sally Sprout, c. 1995
As Hood moved into the final years of her art and life, she remained sustained by explorations of outer and inner space, and her memory of Mexico continued to be a wellspring. Accordingly, the paintings of the 90s exude a youthful energy that belies the artist's age. Confronting these works is to feel oneself at the first primal burst of light or the end of the world. Gravity's Rainbow II encapsulates the evolution of Hood's distinct spatial context and psychological orientation, conjuring an expansive energy field and swaths of radiant, explosive color. The title references Thomas Pynchon's novel set primarily in Europe during the end of World War II. It comprises threads of a narrative concerning the development and deployment of the V-2 rocket. Hood was likely drawn to scientist Wernher von Braun's quote, "Nature does not know extinction; all it knows is transformation. Everything science has taught me and continues to teach me strengthens my belief in the continuity of our spiritual existence after death."
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