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Shapes, precision, and symmetry. These works represent a chaotic yet carefully ordered body of messages.
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Kati works from her Chelsea studio, serene and slightly aloof like her own paintings. It is easy to classify her as geometric abstraction, but she uses this style to a very specific end: to make “invisible things” visible. The subject of Kati’s work is abstraction itself and it is not a representation of anything that exists in the visible world. This gives the viewers the freedom to forget about preconceptions or contexts, and invites them to develop an independent, individual interpretation of the works. Aside from painting, she also works with digital mediums to make installations and videos.
Ryan transforms the cardboards you may throw away without much thought into colorful architectural miniatures. Despite the playful variation in depth, form, and color, the parts in her reliefs magically fit together. Does that remind you of anything? I’m thinking New York City’s way of combining like 10 different eras in one block.
Evan works from his studio in East Williamsburg, the back wall neatly lined with tools and the slightly sour smell of wood in the air. Considering his sculpture and design background, his command of unusual materials like soot residue, concrete, and spray doesn’t come as a surprise. But you may be surprised when his minimal, even digital looking, compositions start to unfold in poetic layers-- “bracing practice” indeed.
Philippe calls his paintings “geographical abstractions”. He reconstructs recognizable details of an urban environment (angular shapes that look like construction debris or suggestion of skyscrapers, for example) according to his personal impression of pecific locations like New York, Aix-en-Provence, and Zurich. But Philippe doesn’t try to organize everything - where everything is fast, noisy, smelly, and overall so extra-, you gotta lean into the chaos and learn how to enjoy it.
Things don't exist, only relations. When Thomas reduced down his palette to red, yellow, and blue, it allowed him to treat them as building blocks of larger structures. Circles, oblong triangles, and skewed rectangles march in neat rows from one side of his canvas to another, but when they reach the other side they are no longer what they were before; and even the works themselves transform into snapshots within continuous action when they are seen in a series.
