In contrast to traditional representations of
lotus flowers in summer, Lois Conner’s triptych presents a wintery scene when
the leaves are withered and submerged and only the stalks and seed pods remain
visible. Here, the reflective surface of the water functions as a neutral
ground, against which the broken forms of dried lotus stalks and their
reflections create abstract designs with a dynamic linear energy reminiscent of
Chinese calligraphy. This association is reinforced by the triptych’s imposing
horizontality that also alludes to the format of traditional Chinese
handscrolls.