{"id":3306,"date":"2026-09-12T05:34:58","date_gmt":"2026-09-12T05:34:58","guid":{"rendered":"https:\/\/www.echoartfoundation.com\/roberta-gentrys-blood-orange-pairs-symmetry-with-sensory-myth-at-track-16\/"},"modified":"2026-09-12T05:34:58","modified_gmt":"2026-09-12T05:34:58","slug":"roberta-gentrys-blood-orange-pairs-symmetry-with-sensory-myth-at-track-16","status":"publish","type":"post","link":"https:\/\/www.echoartfoundation.com\/es\/roberta-gentrys-blood-orange-pairs-symmetry-with-sensory-myth-at-track-16\/","title":{"rendered":"Roberta Gentry\u0019s \u0018Blood Orange\u0019 pairs symmetry with sensory myth at Track 16"},"content":{"rendered":"

In vivid fields of brilliant oranges tempered by moody blues, Los Angeles-based artist Roberta Gentry<\/strong> builds balanced, sensual paintings that foreground the senses. Her upcoming solo exhibition, Blood Orange<\/em>, unfolds at Track 16\u0019s East Hollywood<\/strong> location and runs through October 24<\/strong>, bringing together new works that revolve around symmetry, biomorphic growth, and a finely tuned restraint in color.<\/p>\n

Symmetry, grids, and biomorphic growth<\/h2>\n

Gentry has long explored the relationship between the constructed and the natural, cultivating abstract, biomorphic forms that are often scaffolded by tall columns. Gravitating toward symmetry and restricted palettes, she composes rhythmic paintings that adhere to an underlying grid. Each canvas is built through multiple layers of thinned acrylic, accumulating subtle gradients that dissipate delicately across the surface. The result is a poised tension between order and organic motion, as measured structure meets the roving, unpredictable character of growth.<\/p>\n

Tapestry echoes and the senses<\/h2>\n

The works in Blood Orange<\/em> draw on the 16th-century La Dame \u0000e0 la licorne<\/em> tapestries\u0014six fiber works depicting a blond, lavishly dressed noblewoman flanked by a unicorn on one side and a lion on the other. Each tapestry correlates with one of the five senses, while text on the sixth reads \u001c\u0000c\u0000f Mon Seul D\u0000e9sirm,\u001d or \u001cto my only desire.\u001d Beyond the palette, Gentry renders specific elements from the series: the noblewoman\u0019s velvet gown, a towering pipe organ, and the orange trees that anchor the backdrop. While some scholars read the tapestries as direct references to the senses, others propose a broader lens on how knowledge and information are gathered\u0014particularly through the sixth, more elusive panel related to emotion. Gentry\u0019s thinking meets this debate head-on; she often considers \u001chow we construct mythologies to interpret and explain our lived experiences<\/strong>,\u001d a concern that surfaces in the friction between her painting\u0019s ordered grids and the unruly drift of organic forms.<\/p>\n

Selected works (all 2026, acrylic on canvas):<\/strong><\/p>\n