Martin at her house near Cuba, New Mexico, in 1974.
In 1957, Martin joined the gallery of vanguard art dealer Betty Parsons, and she moved to lower Manhattan. She started to develop a vocabulary of simple geometric shapes - square, rectangles, circles, dots - that she often repeated across delicate earth-colored background.
During the 1960s, Martin's geometric compositions evolved into allover grids penciled onto monochromatic surfaces. When you take a close look at the grids, the multitude of thin lines have a faint and fragile appearance, which suggests the delicacy of Martin's techniques. By the end of 1960s, Martin has already established the large-scale format of six square feet and her signature style: a hand-drawn line forever in dialogue with a square canvas.
A huge square painting with very very fine and delicate hand-drawn lines forming a grid, and little white dots next to each vertex.
Martin's paintings unifies the mathematical rigor of geometric abstraction with the sensitivity and facility of the hand-drawn lines. She views her own work as a pursuit of perfection, and strives to instill every painting with "beauty, innocence, and happiness".
Proof of attendance: