Illinois Art Council
Project Completion
Final Report (Excerpt)

Pannier Wrote . . .

In a November, 1980 one-man show at the same gallery I exhibited nine paintings dedicated to the Monadnock Building (Burnham and Root — Holabird and Roche.) While only one half of one painting "showed" any stretcher (this the largest painting dedicated to both sections of the building); all four paintings to the south half of the building clearly showed the stretcher construction through either surface articulation or the actual three-dimensional configuration of each canvas, which in turn directly related to the elevation / recession of the stretchers… This three dimensionality was inspired by the curving and undulating of the chamfered edges of the masonry side of the building; with the canvas, itself, acquiring a definite curve as it moved in and out of the two-dimensional picture plane, obtaining much the same visual effect as the actual building. To a lesser degree the existence of the stretcher in the paintings dedicated to the north half of the building were expressed through a raised inner-peripheral ridge which caused the canvas to slant at a sharp angle to the outer edges of the paintings, bringing to attention the presence of the stretcher bars which otherwise would have been totally hidden from view.

In the paintings to the south half of the Monadnock building I incorporated "straight" horizontal, vertical, or diagonal bands of heavily articulated wood block textures in a fantasy reference to the steel framed side of the building's decorative cornice line.