Greg Fadell

In my work, I build my own stretchers with wood I have specified from a mill, formulate my own paint, and construct custom brushes. The raw canvas is transformed into an ultra-smooth surface. What looks like a thick buildup of paint is void of texture and deceptively resembles a photographic print. I take into consideration the edges of the paintings by leaving them unfinished to show the evolution/evidence of my process; thus, they too become part of the overall aesthetic.

Alexander Herzog

The impetus for this new series of paintings came from a simple, repetitive, and explosive action that I discovered the year I worked in a professional kitchen in the much-dreaded, but perhaps most coveted, position of dish-washer. I began to think of the painting as a literal surface to be wiped, which became, in painting’s language, “the gesture.”

Ann Toebbe

Living on the East Coast made me acutely aware of the specific aesthetics of my Midwestern upbringing: a pragmatic, mundane (and rather flat) sense of beauty, stubbornly free of high ideas or refinements of style. Living and working as an artist in Brooklyn and studying at Yale forced me to see and remember my family home and lifestyle in a different light. This tension between my later-acquired, intensely cosmopolitan awareness of art and style, and the working class tastes I grew up with, shapes who I am as a painter.

Garry Noland

I am interested in conversations about the correct level of finish in each work and in a body of work as a whole. Levels of finish suggest either an adherence to what other people think should happen or what I think should happen. It boils down to these questions: What is better? Who’s it better to? and Who are you to decide?

Scott Reeder

My paintings walk carefully on a thin line between loving homage and biting critique. Through humorous shifts in subject matter and technique, sometimes subtle and sometimes outrageous, my work acts as an absurd but ardent investigation of modernist canons. Like a police interrogation between two friends, the work is complicated, contradictory, and multi-faceted; oscillating between hope and suspicion, denial and belief.

John Dilg

My paintings are incidental images, essential in the history of a life, formed within a pictographic language. In concert with the titles, these images both recollect and recompose important memories that, though personal in premise, could be applicable to anyone. My paintings strive to identify archetypes that represent, among other things, our resignation to the mystery of undiscovered sources and propose that, since nature has been misplaced, the “natural” is always unnatural.

Soumya Netrabile

 Soumya Netrabile’s paintings are documents of her deep and evolving rela-tionship to the natural world. Her compositions are built up from layers of paint that are directly related to the layers of her own memory, retrieved and shaped by the painting process. Her paintings have a being-like energy and are as much about us in the world as the world itself. They are visual records of what Heidegger calls the Dasein.

Jonathan Worcester

 By balancing discordant colors and textures, Worcester harnesses dissonance and creates paintings that challenge the limitations of the human eye. His compositions reference the body and technology in an attempt to crystallize the inherent struggle between the two. The work transforms according to the proximity and position of the viewer, producing an experience specific to the lens of their body. Like estuaries feeding into a body of water, the paintings intimate divergent meanings through a network of connections that link discrete elements into a cohesive whole.

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