PAULA Deluccia poons

MARCH 21 - APRIL 16, 2026

I see making art as a layered process that requires risk, persistence, and the willingness to undo what no longer holds. Entering the studio means pushing the work, revising it, and sometimes destroying it in order to move forward. I’ve learned that expansion — rather than refinement or control — is what keeps the work alive...The work reflects everything I’ve seen and carried with me, translated through material, touch, and time rather than narrative or representation.

ELIZABETH GILFILEN

MARCH 21 - APRIL 16, 2026

Lately, I have been seeking out spaces that are quiet and allow the rhythms of nature to seep in. I have been drawing during dusk and dawn from the landscape and using these liminal spaces to guide my new paintings. I’m looking at tree-scapes and landmasses but my hand is always veering into the more untethered expressions of the unseen. Aural impressions and compositions that spring from the unconscious collide with the assertion and dissolution of form. I am interested in navigating the visual terrain that veers from exterior to interior and back again.

KATHY GOODELL

MARCH 21 - APRIL 16, 2026

I work looking down into an imagined garden of the mind, the architecture of the psyche. The paintings are entirely improvisational, after the first mark is put down it calls for the next move. A relationship begins! I am interested in opposites, in unlikely alliances. I am not trying to depict anything I already know about; the painting process replicates my internal life of questioning. I think of painting as a way to say contradictory things and to span chasms of information, akin to how we might think about poetry or jazz, two of my great loves. The final surface one sees must hold its distinction so that previous incarnations from under the top skin can be revealed through both the destructive and additive processes, bypassing logic. It's my way of saying I am here- I exist for now.

NANCY LASAR

MARCH 21 - APRIL 16, 2026

Whether in drawing, painting or printmaking, the process for me is about layering and energizing space in such a way that objects are fluid, interconnected and full of energy and movement. I try to use a variety of lines, marks and media to suggest both stasis and openness to possibility and transformation. As I attempt to describe the multiple realities which intermingle in memory, imagination and daily life, images emerge and diverge — reconfiguring in new relationships.

CLAIRE SEIDL

MARCH 21 - APRIL 16, 2026

In my paintings, I focus on the visual but mine is also a personal response to paint that includes emotion and feeling. Each painting is resolved according to its own exigencies and my job is to look hard and long enough to see them. I seek new ways to mesh surface and space convincingly and always look for new pictorial resolutions. My relationship to painting is not settled, but dynamic and evolving. I use drawing and mark-making freely and intuitively and begin most paintings by drawing directly on the canvas and this continues throughout the process.

francine tint

MARCH 21 - APRIL 16, 2026

Artists are pretty crazy, and I am...It’s hard opening the cans of paint, but I do it. I’m OK. I’m happy. I’m a product of doing what I want to do in life. ‘Tint typically works on four or five canvases of various sizes at a time, wrapping them across her studio’s walls and ceiling or plopping them on the floor for a bird’s-eye view. Brushes are not her only tool of choice: She stains, sponges, splashes, smears, streaks, drips, drizzles and glops paint onto the canvas, often adding sand, mesh or gel for texture. It’s a messy business...She has no idea why certain colors or textures speak to her; she lets her intuition guide her. The ultimate goal is for the viewer to interpret the work through their own lens.’ — Abby Ellin / The New York Times

gina werfel

MARCH 21 - APRIL 16, 2026

My paintings echo the discontinuities and abrupt juxtapositions of our contemporary landscape. I respond to intersections of nature and architecture like the view from my studio window, or to reflections glimpsed under water while swimming. Fragments appear in fluid, veiled spaces, layered with glimpses of my environment that suggest fragments of memory. Clearly defined lines and stencils exist in tension with naturalistic gestures that fade in and out of focus. These compositions reflect my interest in dance, which provides a model of rhythmic continuity and of the polyphonic interweaving of independent voices and contrasting personas.