![Jt1uepvhveutgyyhgjgveg](https://axis-arts.transforms.svdcdn.com/production/user-uploads/user-11640/jt1uepvhveutgyyhgjgveg.jpg?w=600&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1709370610&s=f2f5a757e93498070f86793238f20498)
Evidence Ten
By
Susan Banks
2017
![Jt1uepvhveutgyyhgjgveg](https://axis-arts.transforms.svdcdn.com/production/user-uploads/user-11640/jt1uepvhveutgyyhgjgveg.jpg?w=600&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1709370610&s=f2f5a757e93498070f86793238f20498)
Evidence Ten, [yet] another painting that flouts the artist’s intention. It follows Evidence Nine and a visit to the house of Julia Felix and the discovery of more delicate and faded suggestions of graphic elements. A catenary curve was established empirically. Rather than the painting being decorative, where a subject is embellished, the decoration is the predominant subject of the painting
![4exdln07c0eycvaquxfg](https://axis-arts.transforms.svdcdn.com/production/user-uploads/user-11640/4exdln07c0eycvaquxfg.jpg?w=600&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1709370573&s=47e8db4d65d8b0ae6dd04a72cfe761cc)
Susan Banks
![Rdaboc9p0uq7yhii9hjua](https://axis-arts.transforms.svdcdn.com/production/user-uploads/user-11640/rdaboc9p0uq7yhii9hjua.jpg?w=600&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1709370628&s=1fe937d9a6e770985aa01cfdc20c9c45)
Susan Banks
![W95s9cdw7k2kizgazzxykw](https://axis-arts.transforms.svdcdn.com/production/user-uploads/user-11640/w95s9cdw7k2kizgazzxykw.jpg?w=600&q=80&auto=format&fit=crop&crop=focalpoint&fp-x=0.5&fp-y=0.5&dm=1709370648&s=953a3f196a97ee71d5690745aefab1c1)
Susan Banks
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