The subject of penitence… became an excuse to paint the very flesh of the world. 

Fontana’s work feels perfect in its contradictions: Wanting to be pure and then destroying that purity.

“The figure seems to emerge holographically from the surface like a lost energetic god in a desert of hermetically sealed domesticity.” 

Neel’s paintings are a guide to reading through paint. She employs color like a true tetrachromat.

The “mistake” opens up an unexpected world of visual puns and syntactic ambiguity: Maybe it is both a single animal in motion and four separate horses.

Van Schrieck bent nature to fit his vision of it.

Here the artist’s eye and hand are alive to the scene before her.

All this arboreal inventiveness seems right for this juncture of the Anthropocene, an exaltation at a time when we may all be called upon to reinvent the landscape.

The paper – white, ghostly, struck through its heart, floats in space like the upturned body of an impaled fish.