Truth Finds You
Truth Finds You is a collection of sixty paintings and works on paper from American artist Cindy Neuschwander, with essay by Marilyn Zeitlin and introduction by Jay Barrows. Across 140-pages, this hardbound monograph offers a true survey of her last decade of creative output.
“Neuschwander creates pure experimentation at every turn … [with] courage to move forward even at the risk of getting lost,” Zeitlin writes. “Her process was to capture the unpredictable and to make chance her collaborator.” As the first comprehensive overview of Cindy’s portfolio, the volume has been praised by Richmond Art Review critic Amy Ritchie. Ritchie writes, “It’s a pleasure to follow the cyclical nature of Neuschwander’s artistic development through mostly-chronological and exceptionally large plates ….”
Excerpt of Marilyn Zeitlin essay:
And if by chance…
It is a rare and joyous thing for both artist and viewer when an artist’s method and meaning converge. In her mature work, from about 2001 to the work she was completing at the end of 2012, Cindy Neuschwander created the method and visual vocabulary to convey a sense of the contingency of living. But how to catch this elusive insight? One that can be disquieting, the very heart of death anxiety? What if we make the wrong decisions? What if something occurs beyond our control that can change everything forever?
Pondering that chance operations steer us in one direction or to another very different place can be disturbing. We know we are dodging accidents all the time but simply press on or go crazy. The contingency of life, that an accidental meeting or being in the right (or wrong) place at the right (or wrong) time, can make our belief that we are in control seem like a half-truth. Neuschwander, in her work, seems to address the what-if condition that makes life an edgy experience, with results that might span from catastrophe to beneficence. Her own life — truncated at barely 60 — was an adventure: one of her charms as a human being was that she took risks and delighted in doing so.
Perhaps Neuschwander did not set out to make the condition of contingency her content. It seems possible that her method preceded her content, that her gradual ability to let go allowed the two to merge. Intuitively she welcomed accident; in her work, she contrived only to set up a framework in which chance and accident could take the lead. She tamed contrivance as much as possible, creating a working method that allowed her to set aside the urge to control, clearing a path to let her hand express what was passing through her inner mind, working without plotting an outcome.