In Shulamit Nazarian’s Intersecting Selves opening, Ms. Ebony G. Patterson testifies to the incalculable craftsmanship which is the celebration of being human. When juxtaposed to the consideration of how many lives now flow through digital electronics invisibly interwoven, Ms. Patterson gives the public her own idea of an intersection of the cosmic precipitation of terrestrial life, replete with all walks from the biological kingdom with her …for souls…for soles…between the cuts, beneath the leaves, below the soil (2021). Indeed, it is precisely this effort at generating an extension of explosive vitality which presents the subject a moment of pondering away from another smartphone message; a bit of awe at the ostensibly monomaniacal effort at paper-cutting to wield into a harmonious mastication of sight so distant from another electronic mail distraction.

The stature of the composition – at approximately 96 square feet – is necessary to complete the effect of what is, again, beyond the machinations of computer machine learning. The incomplete inferences of a sentient learner cannot reproduce the choreography, let alone the attentiveness to the spackling of images, found in Ms. Patterson’s efforts at dignifying humanity. The routine is beyond the boundary parameters coded by any other human, for it is the very exercise of expanding the boundaries of human imagination which can only be reserved by that which contains a primal heart-drum – the artist.

The artwork’s intention, then, may be best described as another gentle genuflection on the splendor of being authentically human – with the certainty of always irradiating his or her possibilities outward.