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based on a pink grapefruit I was eat* ing one morning before I went to work and all at once, I saw it in a different way. But isn't that what painting is all about? Learning to see the world in different ways?"
In a second style, also abstract, her work shifts to the soft light of dusk and sunrise, and with the muted colors, Mrs. McCreary abandons all traces of cubism. The shapes on the canvas are more implied than defined. A few of these soft abstracts explode with the vivid reds of a sunset or the brilliant orange and russets of autumn, but most of the paintings in this .period are in colors reminiscent of the great French impressionists.
In the mountain series, the forms are now as impressionistic as the colors were in the soft abstracts. These are the Blue Ridge foothills so familiar to anyone who travels the Zulla or Rectortown roads. These are the misty blue mountains at morn through August's haze.
In the final period, where Mrs. McCreary is now, the subjects are firiends and the medium is oil. The colors are again bold, bright and big: a nude lounges on a crimson couch that stands against a purple wall offset by deep green drapes, a lavender throw falling across at her feet.
Here the artist’s mastery of color and space is overshadowed by the forms. Particularly by the &ces in the portraits. They are strong, beautiful faces, the best of them naggingly familiar. But you don't know them; you can’t know them. Some are dead, some live on the other side of the country. They are familiar because she’s caught the character that marks strong, good and generous friends. She’s done it by getting that certain twinkling glint in the eye, that certain tilt to the head, that lift to the smile and set of the chin.
With the abstracts and the mountain series, she’s reticent in talking about meanings or symbols. “I’m interested in color, space and shapes. I’m interested in organic things. I’m interested in the way organic things relate to each other. Mountains are organic things. I’m interested in mountains,” she says. Mrs. McCreary shakes her head. “Itte difficult around here. People are mostly interested in paintings of horses and dogs. Now, I love my pussy cats and my puppy dogs,” she acknowledges, bending over to scratch the ears of the handsome and perfectly mannered standard poodle who is her studio companion. “But I don’t paint themt11 don’t paint picture*,H she
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