“Her paintings are linguistic objects, visual images loosely tied to concepts and actual things. Looking at them over time produces a succession of insinuated and yet unstable meanings[....]. They are bits of displaced architecture as well as images of actual bits of displaced architecture.”
— Ann Reynolds, Associate Professor in the Department of Art and Art History and the Center for Women’s and Gender Studies at the University of Texas at Austin
“In ‘Untitled (Blue Configuration)’ four boards are stacked on the floor in front of another stacked group leaning against the wall; in both sets portions of the turquoise-painted sections are obscured by intervening planks of plywood, creating literal and material depth that cannot be achieved in painting. Contributing to the emphatic presence of Sparrow’s work is its presentation directly on the floor of the gallery.”
— Frances Colpitt, Deedie Potter Rose Chair of Art History at Texas Christian University
housing projects interview
material culture catalog
— Ann Reynolds, Associate Professor in the Department of Art and Art History and the Center for Women’s and Gender Studies at the University of Texas at Austin
“In ‘Untitled (Blue Configuration)’ four boards are stacked on the floor in front of another stacked group leaning against the wall; in both sets portions of the turquoise-painted sections are obscured by intervening planks of plywood, creating literal and material depth that cannot be achieved in painting. Contributing to the emphatic presence of Sparrow’s work is its presentation directly on the floor of the gallery.”
— Frances Colpitt, Deedie Potter Rose Chair of Art History at Texas Christian University
housing projects interview
material culture catalog