Still in her twenties with three solos under her belt, Trudy Benson has been garnering a lot of attention, and it’s easy to see why. Her raucously impastoed paintings, as luscious as they are jarring, are abstraction as sheer ebullience — ambrosia for anyone open to the innate pleasures of color, texture, line and shape.
The paintings of Lauren Luloff have always been as much concerned with finding the way of their making as they have been with the final result. This emphasis on an openness of process is at the core of everything she does.
Tired of all the chatter about Nada being the next big thing, I decided to see if this year’s display would be everything the PR and press promised it would be.
Honestly, it was. Even if the solo artist booths in Richelieu hall were generally a little dull and pedantic, the Napoleon hall was filled with a diverse range of work from galleries that obviously loved what they do.
I found the painting at Nada particularly strong and it was nice to see a love of color in so many that ranged from large-ish-scale abstractions to small intimate pieces with rich surfaces. The tread for most of these paintings is that they tended to be done in a gestural mode of representation veering towards the abstract, but I can live with that.