Seen from the front door of the Carnegie Art Center, Katherine Sehr’s drawings don’t look like drawings at all, but rather like prints of simple, paired squares of muted colors. Upon closer inspection, however, they reveal themselves to be something entirely different—large, frenetic, scribbled testaments to compulsive, repetitive motion. Sehr’s freehand squiggles are amazingly uniform in pattern, seemingly without variety despite the large scale of the pieces. The effect is one of controlled chaos, an electric, jangling convolution, framed and strengthened by perfect squares, which are entirely filled but never transgressed. Of particular interest is one piece in which Sehr unmasks her method, leaving one of two squares largely unfinished, a few tendrils of her curling tremors wisping suggestively into negative space. In fact, what you see in Sehr’s pieces is mostly space—like the space in and between the atoms that comprise our bodies and all of the objects around us—but it is the smaller something that is alive, that informs, defines and dominates, until the larger void is nearly beyond perception – Artvoice, 2007

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