The Universe of the Interior - Non Figurative Abstraction
Works by Dorothy Danziger, Ros Cross and Joan Kahn
December 16 - January 26
Artists' Reception: December 16
5:00 - 8:00 PM
At a time when the public is constantly seduced by surrealistic visual orgies in the medium of popular film as well as art, it is refreshing to examine and embrace work that continues the project of non-figurative abstraction and the goal of attaining maximum contemplative engagement without the use of mind-numbing special effects.
Dorothy Danziger’s work resonates with a vitality that will not go unnoticed by those familiar with the goals of the neo-plastic movement. Her visual authority over reductivist form results in visual events that are at once formalist in nature while also maintaining a highly playful interaction with the viewer. Her exquisite forms exist independent of objective realities and illusions, reduced down to the nth degree.
Ros Cross’ work articulates the energy of a world made up of atoms, in constant movement and fluctuation. Her 2D work borders on the kinetic, leaving the viewer with a sense that her paintings and drawings are ever-flowing in rhythmic currents, like the blood stream of a living organism. Forces or energy fields, visible or invisible, junctions and boundaries all create visual friction and are sites of flux. Her work presents the possibility of dissolving such boundaries, thus creating a transformational state, physical as well as psychological.
Joan Kahn’s work exudes a quiet stillness and exactitude where all visual elements seem to be in precisely the right place. Layers upon layers of visual complexity weave into each other creating a form of spacial depth without illusion. Color and texture hold the space to create a sense of luminance. Kahn considers herself a neo-modern formalist. She explores the dichotomy of painting as window and painting as thing: thus the coexistence of perceived deep space with the physical presence of differentiated surfaces and textures is addressed in each painting.
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