Like a Baroque fantasy, convoluted and explosive, multi-colored aluminum curlicues of Dorothy Gillespie spill profusely over the walls and pedestals of the Monty Stabler Galleries. Ribbons of delightful variety undulate, twist and turn, seemingly intent on finding the perfect pose. Each piece is a bit of humorous vanity, a charming show off that gives the viewer pause and pleasure. The art of Dorothy Gillespie cannot be ignored. Without being stressful, agonizing or even terribly profound, her works are provocative, whimsical and memorable.

James R. Nelson , The Birmingham News

Cascades of color, metal curls turn Gillespie's art into fireworks

    05/11/03 Recent works by Dorothy Gillespie. Monty Stabler Galleries. Through June 1.

      Dorothy Gillespie's signature polychrome metal curlicues ripple and bounce with insouciant abandon. Cascades of joyful color flow and occasionally explode from walls and table tops. She creates objects of sheer delight that involve the viewer in an elated world of fantasy. Twists and curls of aluminum can be as simple as two or three broad bands of metal. She enhances these undulating shapes with color. Others are intricately complex arrangements of countless narrow strips that spring out in tight coils, like frozen fireworks.

     In a departure from her ornamental clusters, Gillespie experiments with flat surface by working with large squares hung in a strict order of horizontal and vertical placement. The squares resemble huge tiles held in place without grout. They carry a design that locks each segment to the others in a cohesive interplay of shapes and colors.

     Her wonderful gift for intricate design is further expanded by single mixed media panels that have the look of out of focus photographic blowups. These works capture nebulous color fragments bumping and overlapping in fuzzy contrast. She ties together these surfaces with painted lines that loop and twist like loose string resting on colored wrapping paper.

     Gillespie creates total non-objective abstractions. Her highly personal titles may offer some insights that might be congruent for others but in essence her work stands as pure visual pleasure. I suggest it is impossible to view these delightful creations and not feel a lifting of the spirit.

James R. Nelson , The Birmingham News