New York artist Mary Obering adheres to a language of geometric forms and abstraction, while using techniques reminiscent of early Italian art. With wood panels painted with tempera and gold, her work recalls Late Medieval and Early Renaissance religious altarpieces. In Real Ideal, the artist's love of symmetry and mathematical variation is evident in the logical and orderly composition. At the same time, the artist intends the edges of the panels finished in gold leaf to produce an ethereal aura around the colored panels.

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