Sloane’s paintings also have more immediate roots, most obviously in 60s minimalism and that minimalism’s various reincarnations since. But this is not to deny her own creativity, for the image she has come up with is not one that I can recall having seen anywhere else. This image is simplicity itself: four squares to form the field, upon which a fifth square is superimposed, right in the center. Each square is painstakingly covered with completely straight, narrow rows of somewhat squiggly rows of paint. These have been put in place by a pastry tube, but on top of a base layer of usually contrasting color, and covered over by a third layer, so that the effect is of a lush bed of plants or a richly embroidered fabric. The four squares in the corners usually have the rows applied horizontally, while the center square has rows applied vertically. The colors are electric: blazing yellows and greens, in some cases, orange upon reds in others, and finally a series in which blues or greens are combined with reds or oranges. “The Mighty Quins” is a good example of combining blues in the center with two different shades of red in the periphery (scarlet and crimson).
Moreover, as Wei points out, Sloane’s “concerns are more than formal.” Wei explains that the rows of paint were originally writing, transcripts of the collected poems of Allen Ginsberg. Though they have been written over so many times that the lettering has become illegible, this innovation entitles the work to be described as conceptual as well as minimal. It is also obviously very labor-intensive, a third quality greatly to be admired, especially in the current climate. More importantly, these paintings are almost hypnotically & memorably handsome.