an op art sensibility to her enormous acrylic on canvas created especially
for the gallery's 18 ft ceiling height. Her color is not shy and literally
vibrates with a rubber necking intensity. Evertz's precisely executed shimmering
vertcal bands result from her mathematical and musical approach to her color
system and repeated pattern composition. This work is both intellectual
and sexy... it sings like a Puccini aria but is timed and tuned like a Philip
Glass minimalist opera.
Julie Gross' large site specific gouache on vellum window installation also makes use of clean lines and color that vibrates. Though her colors are of a subtler nature. She is deeply conversant with color theory and works to combine unlikely bedfellows of discordant hues that never the less live happily together in her works. Gross' smoothly painted biomorphic shapes of quirky bubbles and droplets have an abstract relationship to Japanese pop art and anime.
Margaret Neill also combines discordant colors to happy effect, in her new acrylic on canvas paintings. Her palette ranges across the spectrum from nature inspired color to acid intensity. Neill's paintings too have an aqueous biomorphic quality. However their fluid painterly style, employing glazes and scraped surfaces, veers away from pop art and flows instead into nature abstracted with an impish edge.
Elizabeth Terhune's color is of a more subdued and earthy quality in her oil on linen canvases. Her eccentric musical compositions bring to mind the playful seriousness of Paul Klee while her rough painterly style recalls Philip Guston. Her layered and intuitive painting approach with its thick surfaces and myriad forms embraces ambiguity to create an experience rich with poetics.