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Everyone seems to be learning coding now, but it takes a deeply invested one to know the beauty of everything suddenly lining up towards a solution. That moment when a highly elaborate system starts to makes sense is what Gauthier's small drawings feel like. Having studied and worked in data science, his works don't mimic scientific concept - they ARE. But instead of arguing to be completely abstract concepts, they also trace the time and effort taken to reach them, in faint pencil lines, little notes, and the blotted look of marker and crayon.
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.
Sasha’s paintings are small but mighty. They sometimes look like fictional sculptures dropped onto the vacuum of vibrant color. Other times they’re like a clutter of found objects. In either case, disparate objects disappear in favor of a whole situation of motion and interaction, tinted with Sasha’s faith in the possibility of true harmony.
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.
Combining black and white photography and collage, Adrienne’s unique perspective uses urban architecture to create abstract shapes. In her "Architextures" hand-cut-and-assembled series, her collages are anything but static, with texture and layering emphasizing their handmade quality. The complex, layered nature of Adrienne’s practice subtly blends fragmented photographs into geometric forms.
Joseph's work creates seams by coupling non-objective imagery with written texts such as dates, names, and various words and phrases. The back and forth between the two elements pose an ambiguous field of opportunities for the viewer to exist. Urgency and chance are ever-present in the works as is the dirt on the road to conclusion.
Speaking of the subtle ways environment affects a painter’s color choices, Beth’s choices scream East Coast. From the thick of acrylic paint emerges Beth’s impression of landscapes, styles alternating between abstract waves and naturalistic scenery.
Is there something prophetic about Saskia Fleishman's name? Because...pardon us for the terrible pun but her landscapes are fully fleshy. In a twist of fate, fluid and ethereal things like cloud or waves of the sea have been built up with sand, while backgrounds of striking techicolor recede away from the material world.
Susan creates her smooth, gleaming pieces through an intuitive method which relies on happy accidents. Watching Susan’s process of pouring paint onto panels is like watching a sunset or waves gently crashing onto the shore. It is an intimate and poignant experience which results in paintings that seem untouched by human hands, as though color and light washed over the surface of the panels by magic. Susan creates an abstract world which is both calming and unafraid, adventurous in both process and experience.