Amy Myers by Eric Fischl

Amy Myers grew up in a house of science. Physics was the currency of exchange. 

BOMB 87 Spring 2004
087 Spring 2004 1024X1024
Myers 01

Amy Myers, Satorin’s Constant, 2001, graphite, ink, and gouache on paper, 88 × 90 inches. All images courtesy of the artist and Danese Gallery, New York.

Amy Myers grew up in a house of science. Physics was the currency of exchange. This was a world of muons, gluons, particles top and bottom, up and down, charming and strange—a universe of infinite space and permeable surfaces. The theories that inflamed her imagination boggle our senses. She has managed to commingle them and, to some extent, harness them in her mandalas of female physiognomy. If you thought them diagrams, you have only seen them from a distance. These feminine fantasies are as delicate as lacework, as eloquent as a bridal gown, as spectacular as fireworks, and as uninhabitable as a distant planet. When you come within range of their humming, the Dance of Veils takes effect. Fields of energy drawn from Myers’s mind and released by her hand push deep into the flatness of the paper. Her constellations atomize into a spinning, vibrating abstraction that draws you irresistibly toward an ever-widening interiority—a near-infinite, yet intimate, space of dizzying electromagnetic seduction. These shapes are tightly held within the gravitational force of her psychological/spiritual cosmos. Orbiting, endlessly orbiting. Sparkling, luminous, quirky, sexy, and playful, they bounce and zip along trajectories of mesmerizing complexity. So transfixing are they that before you know it they have left the paper-flat surface and encircled you, wrapped you in an embrace that is impossible to shake off. Though why would you want to?

Myers 02

Amy Meyers, Left: Heterotic String Series—From the 10th Dimension, 2002, graphite, ink, and gouache on paper, 88 × 90 inches; Right: Heterotic String Series—From the 26th Dimension, 2002, graphite, ink, and gouache on paper, 88 × 90 inches.

Calling them drawings doesn’t do them justice, doesn’t represent their force or effulgence. They are elemental: pulp and lead. They are arrays of monumental intricacy. They are totems to Cosmic Sexuality. No matter how far into them your curiosity leads you, Myers has already been there to draw it. She is the creator of this universe. You cannot exhaust her imaginative detail. I guarantee that you will tire long before she does.

Myers 03

Amy Myers, Fearful Symmetry, 2003, graphite, ink, and gouache on paper, 88 × 90 inches.

Eric Fischl is a New York-based painter.

Kate Manheim by David Salle
Man 01
Michael Childress by Susan Jennings
Childress Michael 01

It starts, of course, with water. A bath for the newborn, a baptism for the blank canvas.

Catherine Howe by Madeline Weinrib
Howe 3 Body

During the 1990s, Catherine Howe and I were painters in the same downtown studio building at the edge of the West Side Highway and frequent visitors to each other’s work space. 

Rochelle Feinstein by Justin Lieberman
Theestateofrochelle Final Body

Feinstein talks with fellow painter Lieberman about The Estate of Rochelle F., a pre-posthumous, post-humorous painting project for which she utilized only materials already present in her studio.

Originally published in

BOMB 87, Spring 2004

Featuring interviews with John Waters, Shirley Jaffe, James Welling, Nuruddin Farah, Alma Guillermoprieto, Olu Oguibe, Hanif Kureishi, Ra’anan Alexandrowicz, and Howe Gelb.

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087 Spring 2004 1024X1024