Our understanding of artists and their art is greatly enhanced when we are allowed in on the act. For example, there is much to be learned from the subtle differences in Monet and Renoir's interpretations of the same arrangement of flowers and fruit, or from Sisley and Bazille's studies of The Heron. But today, in spite of the means available -- film, photography, video, etc. -- such enlightening glimpses into the art of our time are somewhat of a rarity.

However, in 1986 a unique view into the mechanics of the creative process was provided by Janet Fish, Sondra Freckelton, Nancy Hagin, and Harriet Shorr. Through a group of interlocking paintings constructed around four objects, they presented an opportunity to track their various approaches to the art of the still life. Then again in 1996, they decided to repeat their endeavor.

The germination of this collaboration took shape quite casually over drinks at Fanelli's after a panel discussion at Cooper Union. The four painters agreed that they would each select an article which all four would then include in a still life composition. None of the pieces could have made an appearance in any of their previous works, and all of the paintings were to remain out of view until the entire quartet was completed.

For the 1986 project Freckelton submitted a fish vase, Shorr a blue oval platter, Fish a set of iridescent candlesticks, and Hagin an Italian ceramic pitcher. For the second set of works in 1996, Freckelton contributed a valentine chocolate box, Shorr an hors d'oeuvres set, Fish a colorfully patterned glass vase, and Hagin a large coffee pot.

The two sets of paintings center around the artists' long-standing friendships, a bit of esthetic gamesmanship, a sense of challenge, and an abundance of self-assurance and skill. Eventually these works will be scattered and their connections will be forgotten. However, each painting stands quite well on its own, for throughout the eight variations, there is no hint that the connective strategem of the recurrent items had hindered the inventiveness of the four painters in any way. For more than a quarter century, Janet Fish, Sondra Freckelton, Nancy Hagin and Harriet Shorr have provided an abundant array of visual feasts, and each of these works fits comfortably and seamlessly into the oeuvre of the individual artists.

-- Excerpted from John Arthur's Introduction
to the Exhibition Catalog

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