A wonderful blurb and response to the galley of Water Rising has come in from art critic and poet, Carter Ratcliff.
Leila Philip's poems are intricately accurate about the look and sound of natural things, the grand sweep of the seasons, and the elusively textured emotions that unite two people in a single enterprise. She is a particularly subtle kind of realist. Garth Evans, a non-figurative sculptor, is seen here as a watercolorist transposing the grand forms of his three-dimensional work to the flatness of paper. Her representations and his abstractions do not, at first glance, seem to have much to do with one another. With attentive reading and looking, however, we begin to perceive in his imagery intimations of specific things--qualities of light, shifting structures of space--and, in hers, openings onto vast, unnamable matters of hope and the flow of time. Each is as much an abstractionist or a realist as the other, and Water Rising joins their work in a magnificent unity.
-- Carter Ratcliff, Art in America
Leila Philip's poems are intricately accurate about the look and sound of natural things, the grand sweep of the seasons, and the elusively textured emotions that unite two people in a single enterprise. She is a particularly subtle kind of realist. Garth Evans, a non-figurative sculptor, is seen here as a watercolorist transposing the grand forms of his three-dimensional work to the flatness of paper. Her representations and his abstractions do not, at first glance, seem to have much to do with one another. With attentive reading and looking, however, we begin to perceive in his imagery intimations of specific things--qualities of light, shifting structures of space--and, in hers, openings onto vast, unnamable matters of hope and the flow of time. Each is as much an abstractionist or a realist as the other, and Water Rising joins their work in a magnificent unity.
-- Carter Ratcliff, Art in America
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