Kitt Warren’s recent work draws on the interplay between the object of the painting and its furtive relationship with unseen and ever-shifting visual patterns. By using reflective paint, the connection between material, medium, and effect is given additional layers of complexity. In her work, both surface and image interact to form a painting that reaches the viewer in unexpected and unpredictable ways.
Sabine Friesicke's recent work investigates the line’s liminal place between drawing and painting, allowing her to explore and reinterpret space, light form and color. Friesicke uses a metronome and clock to capture and unite the specific and disjointed movements of painting and time. Her works seeks to question the limits of measurability and immensurability.
Hovey Brock’s work returns to the beginning of the western philosophical tradition, with a focus on the notion of “bounded” and “unbounded” as governing principles of philosophical, artistic, literary, and scientific inquiry. His freehand painting style combines the use of symbols, numbers and written words and engages with the formlessness and fluidity of the subject.