There is a deep, warm solitude running through all of Eleanor Ray’s paintings — a sense of being alone and luxuriating in the human silence and changing light.
Tunji Adeniyi-Jones has discovered the benefits of unique stylization: objects and figures can be made in such a mannered way that they become visual metaphors, flexible in their vagueness.
The act of seeing is complicated, especially when it comes to the challenges of art. On a recent wander through the Lower East Side, I found myself in three galleries currently hosting solo exhibitions that require a closer look to reveal the details hidden from the first glance.
Sarah Crowner’s newest exhibition at Nicelle Beauchene Gallery on the Lower East Side continues the artist’s vein of inquiry but does so in a manner that is far more engaging and maybe a little bit riskier than the other stuff I have seen.
Serendipity often plays a role in gallery going. Occasionally you come across two shows at unrelated galleries that suggest a connection that couldn’t possibly have been planned. You could argue such occurences have the makings of a zeitgeist, but sometimes they are simply coincidences that reveal common interests or goals among a few artists who make work in different places. Kristine Moran’s Protean Slip at Nicelle Beauchene Gallery and Gianna Commito’s self-titled show at the Rachel Uffner Gallery were the source of my latest visual connection making, and both painting shows at Orchard Street galleries are some of the best at the moment.