Abstract expressionism, Monet lily pads and steamy Bonnard summer gardens are still the ancestors here, but now in some cases with narrow brush strokes outlining forms that overlie the base fields of gently waving strokes of color.
These outlined forms are limned in pale colors, only slightly different from the fields they overlie. Occasionally they rather coyly hint at human heads or figures, but most of the time they are just generic forms, for the sake of nothing so much perhaps except to establish a figure-ground relationship.
“Outta Here” (2015) faces the entry. Its paint is thicker across its middle, and thinner at bottom and top, but the colors are idyllic: pinks, purple and lime.
The perky “Sister Central” (2014) hangs across from the reception desk and is the smallest painting in the show. A narrow vertical, its vivid colors include reds and purples, along with beige.
Rich, dark color contrasts characterize “St. Genesee” (2014). It works despite (or perhaps because of) its ghostly standing ¾ length figure.
On the other hand, in “Arouna”(2015) the all-overness is most pronounced, except for a yellow-green vine-like shape at the top right of the canvas.
Most powerful is “Angle of Landscape” (2014). It, too, is distinguished for its all-overness, except for the daring orange-red strokes leading inward from the top left, a bush of green below them, and a bluish-red area on the upper right that balances the other two. Bravo!