My beautiful, wise and charming big sister Pippin, or as she is known in art circles, Rella, (after my paternal grandmother)  is an artist. She has always been an artist ever since I can remember. She is eight years older than me and a lot more sensible. She is married to a very successful and much admired in his field New Yorker called Sanford and she has lived with him in New York City since 1969. They have two delightful grown up ‘children’ and are now very proud grandparents – twice over – to boot.  Pip still has her lovely gentle looks (aged 64) and hasn’t lost any of her English accent, nor her inherent Englishness, which must make her very attractive and appealing to New Yorkers.

Pip used to send me little black ink drawings of beautifully drawn, exquisite teddy bears, fairy characters and dingle dells, elves and wood folk with her letters to me at Boarding School as I was growing up.  I adored these. She has just held her inaugural one woman show at the Painting Centre in NYC and I’m very proud of her accomplishments hence putting a link to a relevant website here and a bit of blurb that another website writes about her and her work.

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http://www.thepaintingcenter.org/member-art/rella-stuart-hunt

When Rella Stuart-Hunt read Ernst Mach’s ‘The Analysis of Sensations’ in which
he talked of parallel lines providing an illusion of wave-like curvatures and
swellings, she thought about the early paintings of Bridget Riley, her fellow
countrywoman. However, rather than focus on parallel lines creating an illusion
as Riley had done, Stuart-Hunt in her most recent paintings – she has had two
previous shows at The Painting Center – decided to simplify and refine what she
had been exploring previously.
While her previous exhibits were inspired by her poetry, in this, her first one person
show in the main space of The Painting Center, Stuart-Hunt focuses on
the purely visual for personal expression. She has chosen to explore the color
effects of interrupted color shapes on either side of vertical divisions. Using a
format that has been part of her work for several years, she has placed alternate
gray arcs (or swellings) on either side of an implied vertical line, intending to
subvert the simultaneous contrast that usually occurs. She has used grey
extensively for its tendency to change easily in visual color qualities when seen
in different contexts, an effect which occurs only in the eye-brain system of the
viewer. She hopes that the patient viewer will be rewarded by extended and
slower visual investigations of her paintings, creating a further sensory
awareness of her expressive intent.

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