In the Windows of Bergdorf Goodman: Margaret Evangeline

By Dominique Nahas

While coming from two different worlds, those of avant-garde art and couture Margaret Evangeline and John Galliano's work find their place in this opened sensorium: the absent codex.

Margaret Evangeline's 1997 paintings blue series and earlier red series are filled with errant, vagrant traces in multiplied space. Pictorially, her history includes the drip. The four, the unfettered Grid, fluid signs wavering in the depths of painterly accumulations layered residual traces recording her ebb and flow. One might employ all of the metaphors of the senses to declare that optically spearing Her vagabond and acrobatic merrymaking is sheer cadence, irreducible to code yet manifest in meaning. In the larger order of things, this cadence, this rhythmic markmaking, is the larger order of things Continually displacing itself in intermittent alogical readings, this larger order resists organization or disorganization, inscribing itself in the mind of the viewer as the intangible residuum of a sojourn - a liminal state with no lasting stopping places. 

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