52
WBM july 2020
art treatise
natural
selection
There’s more than aesthetics in
the art of Abby Spangel Perry
IBy Fritts Causby N A BUSY, modern world, taking the time to
fully appreciate a work of art almost seems
decadent. The effect is compounded when
contemplating works with a high degree of
intricacy, such as the art of Abby Spangel
Perry.
On the surface, Perry’s art is vibrant and
richly detailed. It is impossible not to recog-nize
the significant amount of time and effort
invested. Drawing inspiration from antiquated
depictions of nature that were used in teach-ing
biology and science, Perry creates visually
appealing works of striking detail and clarity.
Diving deeper, it becomes clear that Perry’s
art is more than just pretty pictures of plants,
animals and birds. Her images of jellyfish,
pigeons and sparrows draw attention to the
delicate balance in the natural world, the line
between hope and vulnerability, neglect and
destruction.
“Nature is a starting point for me,” Perry says.
“I like to raise awareness about broader issues
through my art. That is something that engages
me intellectually.”
Calling attention to the misuse of nature as
a commodity and the impact of human interac-tion
on the smallest organisms and plants is a
motivator. Her work often centers on our societal
ambivalence toward nature. Instead of a black-and-
white dichotomy, Perry’s art shows that the
interests, attitudes and goals of groups that care
about nature often intersect.
Artist Abby Spangel Perry, left, draws inspi-ration
from the natural world and focuses on
nature-based themes in her paintings and
mixed media work. She is currently working
on a series of 6 x 6 inch watercolors depicting
seed pods.
ALLISON POTTER