b"HTT P://WWW .JANE TRUTT ENBERG.COM/TKTKTKTKTKTKTK to each other on the grass to approximate her typical more or less 10-by-15-foot format. When I asked why she worked on such a panoramic scale, she told me that it allowed her to get every-thing in. Of course, as she paints, she occasionally needs to step or kneel on the unrolled strips to reach some particular detail, but most often she applies her water-based paint using brushes that she has attached to long poles. Her unique practice reminded me of the famous lmshot coincidentally in 1950, while Janet was studying printmaking at the University of Iowathat shows Jackson Pollock dancing around an enormous canvas on the oor of his studio and inging paint at it with virtuoso concentration and control. But no matter how much Janet shares Pollocks SCANTHISQRCODEORVISIT:loveofimprovisationandsymbolism,hermethodofworkingonthegroundhasnothingto do with Pollock. Instead, her virtuosity with long-handled brushes is based, at least partly, on years of y shing in Scotland, when Janet developed the enviable hand-eye coordination that allows her to stand as far back from the marks she makes as a spectator would to see the work as a whole. Why? She replies that she needs to observe her underway painting from the same distance that she observes her subject. These masterful watercolors, which she modestly refers to as just fullscale studies, are to her mind the basis for the oil paintings and more recently the multimedia paintings that she develops in her studio whenever the Sheep Meadow is closed. ABOVELove in the Park,begun 2005, oil on canvas with projected video, 48 x 81 inches.OPPOSITEThe art-ist in her studio in 2013 working on General Sherman.OVERLEAFStudy #9, watercolor on paper, in updated video frame, 110 x 183 inches. This is Janet's rst video frame composed of 71 LCD screens and still photo-graphs of Central Park subjects. 3839"