It seems possible to detect two principle tensions, closely interconnected, in the work of Ruth Proctor: an interest in geometric form, historically tied to Constructivist abstraction and the performing arts of that period, and a fascination with a cultural atmosphere linked to the theater and film world of Surrealism and Expressionism.
The theater, reconsidered through a study of Brecht and the experience of dance ensure Proctor the possibility of working with languages that never finds definitive formalization. It doesn’t matter how many attempts are made, as Proctor says, no representation will be the same as another. This approach means that the work is constantly in motion, dialectically engaged with itself. [...]
