"Ober's semiotic scenes are fractured and strewn with inconsistent memorabilia from a variety of disparate cultural periods perhaps beginning with Victoriana and ending maybe the day before yesterday.
Arrangement is really her genius, and use or nonuse of space a discriminating and carefully managed concern. Each composition is suspended in a perfect balance through some visual or psychological mechanism or other, whether it be violence and sweetness, geometry and botany, negative / silhouetted form with line drawing, or the factual rivaling impulse of obsession.
The works are also highly active. Ober effectively does not establish a starting or vanishing point or a denouement, but rather gives primacy to every element, even the ones that are almost obliterated--so pale and veiled that you must strain to perceive them. The compositions really compel you to do this, too, in order to gather every clue because, unlike Lo's work where vagueness leaves mental space for the ego to relax and luxuriate, Ober's juxtapositions and literary paraphernalia suggest a possible revelatory outcome. It seems more important to 'get' the message in these works, like there is more riding on it."
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