Press

“A painter chooses color. I choose pattern,” says Roz Leibowitz, a New York City-based draftsman whose drawings are filled with intricate serpentine lines and nearly impenetrable layers of border and pattern. “I’m not a formalist, creating art based on composition or color.” Instead, as an artist with masters’ degrees in library science and literacy, Leibowitz more readily identifies with the act of writing in her work. “Most of the time when I’m drawing, I think in terms of narrative,” she says. “My brain goes to stories. To me the drawings are like poems. The patterns are like handwriting.”

"By painting abstract works that morph into blurred landscapes, Shawn Dulaney accomplishes a sort of magic trick. Her visually magnetic arrangements draw us in with palettes that first appear still and muted but gradually reveal movement and layered translucence."

"In this exhibition of Eugene Brodsky’s silk-screen paintings, the signature image, which appears in his work in various states and scales, is of lace-curtain-covered French doors partially open into a room. A section of an ornamented wrought-iron balcony is in the foreground. The metaphors here are rampant and quite poetic. Layers, silhouettes, openings, and textures—from solid to gauzy as well as transparent to translucent to opaque—play off against one another."

"Eugene Brodsky has always been preoccupied with the visual babble of our image- ridden environment and with the sensuous properties of this cacophony. His overt employment of silkscreened imagery in these latest paintings, large and small - combining oil on panel with silkscreen ink on plastic - clarifies and heightens that preoccupation, and that sensuosity. The method provides Brodsky's paintings with a new slipperiness - not a physical (much less subjective) superficiality, but a visual elusiveness that confounds our efforts to grasp these images as pictures of anything, even when they clearly are pictures of something. Their graphic quality is a matter not of text, even when displaying clearly notational qualities, but of texture. Brodsky thus stands athwart our tendency to literalize what we see, a tendency locked into place by our reliance on the computer. He warns, indeed struggles, against the tyranny of mere knowledge with his fugitive pictures and uneasy sense of pictoriality. Optical pleasure, Brodsky argues, is a perfectly legitimate form of information."

"Celia Gerard’s mixed media works on paper are large and arresting, and this show included six of them, three black on white and three white on black. Each is an abstract meditation on geometry and also a kind of imaginary landscape with an implied horizon and multiple vanishing points. In all the works, triangle shapes predominate, often rising up like mountains, sometimes overlapping at skewed angles. They send the eye careening."