Our view that watercolors are generally small works is another assumption that the “Bluegreen Mountain” paintings bust open. They measure 90-by-55 inches, unequivocally demanding our attention and exuding enormous power. Within the context of the title, they also intimate the persevering power of water (“eau” in French) itself. We can interpret these as stones on a mountainside being broken apart and crumbling into dirt by the constant freezing and thawing of water. —Jorge S. Arango

The exhibition includes atmospheric watercolor scrolls that suggest sediment and rocks. She repurposed those scrolls from a previous show in San Francisco, dumping buckets of water on existing paintings and watching the effect as the water ran down the paper. “There was some risk involved with that,” she said, “not knowing where any of this is going to go. I could have easily ruined any of those paintings.” —Bob Keyes

Zopp is a brilliant maker of evocative forms. She manages to create stunning wall and floor pieces out of crumpled and torn builder’s paper that has been further enhanced with tissue and scrawled writings. They might be distant cousins of certain Frank Stella sculptures, but they seem at once less preconceived and more resonant. One of them looks strikingly like a figure fallen backwards, into a corner of the gallery, eliciting a kind of empathy. —Carl Little

Many artists are rootless, while others travel far from their roots to find images and places and even objects that catch their eye for creation. Dudley Zopp, whose solo show “Landscapes, Vessels and Jars” opens at Moremen Gallery this weekend, is one of the latter. —Eli Keel

The challenge — the literal challenge — of determining content and meaning in a work of art is almost always present, but rarely is the matter stated as bluntly as it is in Dudley Zopp's "Bog." An installation piece, the work is comprised of dozens of signs, each about the size of a shirt cardboard, mounted at waist height on slender shafts and crowded into a cramped, dimly lit space deep in the interior at Galerie Hertz. —Bruce Nixon

With her installation Ground/Underground, Dudley Zopp has created a meditation on time. We know we are in a place of meditation immediately upon entry, as we hear the sound of bells and are invited to light a candle to images of the Virgin. This is a prayer and we are inside its space, seeking intercession. But for what? —Mary Joe Hughes

Forced to the wall, my one-word characterization of Dudley Zopp becomes seeker. Or, given a few additional words, I could say "Not a passive observer." The ceramic sculptor Peter Voulkos had a sign prominently displayed on his front door: "Day Sleeper." Definitely not Dudley. —Hal Thurman

Dudley Zopp is a keen observer of the phenomenology of the natural word, and, in keeping with her long-standing interest in languages, thinks of her paintings as "translations" of natural forms. Broad views of horizons, seascapes and landscapes are as important to her as the intimate rock and plant forms that inhabit those larger spaces. —Suzette McAvoy

Dudley Zopp's paintings are like palimpsests whose burnished and abraded surfaces are as compelling for the faint traces of their absent markings as they are for their visible ones. —Mark Wethli

Dudley Zopp first visited Maine fifteen years ago at the invitation of "Red" and Peg Garner, her parents' friends from Lincolnville, and returned once, twice and then three times a year until purchasing her present home in Belfast in 1996. Her expedition "Down East" to Quoddy Head close by the Canadian border in 1992 was nothing short of an epiphany. —Bruce Brown