The hybridized forms, distorted perspectives, and calligraphic line employed by New Orleans artist Regina Scully in her landscape paintings have prompted both critics and viewers to seek parallels with Chinese and Japanese antecedents.
Although these formal resonances have been noted for well over a decade, Asian art exerted no direct influence on Scully’s practice. It has been only in this past year that Scully had the opportunity to look closely at Japanese paintings, particularly landscapes created during the 18th and 19th centuries, in the collection of the New Orleans Museum of Art.
In this exhibition, paintings from throughout Scully’s career are presented with a selection of works from NOMA’s collection of Edo-period painting. Deliberately grouped so as to avoid direct comparison, the presentation invites close looking and open questioning.