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Debbi's works are sneaky in a sense that, instead of denying the existence of a frame, they subtly push against and peak out from it (have you noticed the pairs of eyes in some of her paintings?) Neat square pieces on the outer boundaries of the frame devolve into patterns, curves, and patches of sprayed paint. Some of Debbi's paintings actually look like puzzles, challenging you to play an active role - only to reveal that, in the end, her puzzles yield fun for the sake of it rather than a finished picture.
Annette’s abstract renderings of flowers and plants pay a soft gaze towards nature in more than one way. Her unique technique of applying multiple layers of glaze upon birch panel yields a luminosity like old porcelain, the already intertwined forms wearing different guises when seen from different angles or lighting.
Christina's mixed-media works are engaged in a perpetual struggle to burst out of whatever shape that holds them together. A philosopher once said that any artwork is a battle between material and content - this cannot be truer when Christina uses fabric like khakis, linen, and yarn that usually function to clothe and decorate our bodies but in her works given freedom to emanate energy on their own. In a sense, her approach seems like a rebellion against the way we in the modern times tend to bend nature as an object of our own use. When given the smallest crevice, nature will re-emerge in its full majestic force.
In the age of migration and multicultural families, no one has to be one thing - Winnie straddles three countries of Indonesia, China, and the U.S where she worked as educator as well as artist. In her mixed-media works, tropical and botanical motifs are not relegated as an exotic backdrop but intermingle with human bodies. Some motifs are more pronounced, like figures sitting in the position of or making hand gestures of Buddha. But Winnie's playful collage uses these pieces to resist the sense of a fixed origin, fully giving in celebrating rather than resisting the confusions of having multitudinous identities.
Mary’s paintings raise a series of open-ended questions - they don’t demand an answer, but they do ask for your consideration. If you feel compelled to run your finger along the winding, maze-like line of one of Mary’s paintings, don’t worry - so do we (though we don’t recommend it - oily hands and oily paints don’t mix well.) Her take on abstraction is surprisingly tactile, with unique titles which inspire sensations, rather than literal representations.
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.
