Each of the ten artists in this exhibition makes line primary in their practice. These artists use the line with different agendas but always in the service of abstraction. Their marks do not describe, but speak themselves, of time and space, and of feelings and ideas.
The lines in Lisa Corinne Davis’ paintings create imaginary maps that speak of the cacophony of urban traffic. They articulate webs of connection - of the flows of information, people, and ideas, and express an energy as raucous and exciting as New York.
The intuitive line-making in Lucasen Brown’s paintings feel as if they arise from a meditative practice that reflects on the interconnectedness of all things. His lines are instinctive and necessary and call to mind the web of energy that powers nature.
For Leslie Jane Roberts, the line is information. They are typically color-coded to represent bits of data in charts that Roberts forms based on the lists she collects from her life or the wider world. They can record something as interesting as the Birds of Brooklyn, or as banal as what she buys for dinner but their visual representations through color and line are always beautiful.
Dana Piazza uses his meticulously hewn lines to create eccentric, organic shapes of broad color that, on closer inspection, come alive with the energy. Similarly, Sen Eggebrecht’s lines bring to life a world both flat and three dimensional, filled with maybe, but not quite, creatures of dreamlike ambiguity.
Arielle Zamora’s straight, even lines are deeply incised in the painting’s surface. Their careful, even placement suggests the mechanics of the built environment, but their subtle, hewn quality reveals both the tenuousness and the tenacity of the hand made.
Peter Stephens’ meticulously crafted vibrantly colored lines, appear to be too precise to be hand-drawn, yet they are. Initially based on scientific information, their riotous colors weave a space full of energy, motion and surprise.
Lines of contrasting colors create a visual journey in Richard Tinkler's precise drawings. What initially seems to be one deliberate, simple geometric pattern, morphs, upon close attention, into ambiguous space and a complex riot of color.
Pattern is also prominent in the lines drawn by Jacquelyn Strycker who uses them to form multiple unique patterns that are then printed on handmade paper in a wide range of colors. They are then cut up, resewn and collaged together to form a mélange of color, space and movement.
Maeve D’Arcy’s paintings chronicle observational musings through an intuitive practice of mark making and repetition. She literally accounts time as she methodically lays down each line, dot, and shape.
