Angela Heysh′s Mysterious Worlds

The artist Angela Heysh enjoys her physical efforts related to the performance of the work — repetitive movements and hours spent in the studio that distort her sense of time and transform her ideas. If you have the opportunity to stop in front of the eight paintings and six sketches that make up the “Trapezium”, at her exhibition at the Davidson Gallery in New York, where in general you can meet the artist herself, who can easily tell you about the important process in creating a lively abstraction.
No matter how insane the works of the artist Angela Heish, they are the result of careful deliberation. According to her, the New York artist created a distinct dictionary of forms, where restraint is manifested.

In complex new works in “Trapezium”, in which it can be assumed that the columns are dancing on the thresholds of unrecognizable spheres, and the geometric constellations are framed with floral silhouettes. Each picture challenges the viewer to understand where one world ends and another begins.
Spending time with nature brought to the fore what Heish called her a “phobia of symmetry” - a disgust that is very noticeable in her recent work. But although neither of these pictures is completely symmetrical, some, like AROUND and PULL APART (both 2019), still have similarities and a desire for symmetry. The first has two large spheres and two drop-shaped shapes rotating around a central point, and the second contains a transparent creature that looks like a kite that seems to float above the canvas.

Historically speaking, Heisha had a complex relationship with accidents in the natural world. “When I was in high school, I printed all these photos of butterflies and mushrooms and made a book of them,” she said. "I called them really stupid names to help me overcome fear."
She makes sneaky embarrassing pictures that are getting weirder when you look at them. Each, in fact, has a set of colors and textures, although it may take some time to find, realize and cognize, and penetrate deep into the very “heart” of the picture. In older works, Heysh drew what she calls "irrefutable faces" of people she has since rethought on a more subtle level.