“My paintings used to be dense and layered, and lately I’m separating out the parts.” This was Keltie Ferris’s remark in a September 2015 interview with Jason Stopa about her exhibition that year with Mitchell-Innes & Nash.
In his new exhibition of 40 works, Chase’s black male Venuses are bathed in warm yellows, tropical indigo and ultramarine, and rich purples. The men are romantic but not romanticized.
In Star Death and The Pain Body, Rachel Mason tunes both visual and aural experience to create a sacral space where we perceive, for a moment, the unknown outside and within us.
Four and Twenty Blackbirds (2018) is subdivided by a tree whose branches spread across the canvas, filling it with foliage painted by means of closely packed green dots, patches of sky denoted by blue dots, and passages of red dots interspersed throughout. Written inside of a branch, the width of the rectangle, is the line “Four and twenty blackbirds—baked in a pie, oh my oh my!” Williams pushes this nursery rhyme into more troubling territory through the presence of the tree, which for Williams is an inescapable image of lynching.