Kathleen Craig, Sarah Lubin
Nancy Margolis Gallery is pleased to commence its 2020 season with a two-person exhibition featuring Kathleen Craig and Sarah Lubin. The exhibition will be on view January 9th through February 22nd, 2020, with an opening reception on Thursday, January 9th from 6pm until 8pm.
Kathleen Craig creates landscapes and still-lifes inspired by observation and memory. Rendered with oil paint on canvas, Craig鈥檚 paintings explore the relationship between abstraction and representation. She captures the essence of her subjects鈥攄ocked boats, vases of flowers, distant islands鈥攖hrough abbreviated forms and soft patches of color. While some compositions appear entirely non-objective鈥攕uch as Purple Floor Still Life (2019) in which plots of color stagger across the canvas鈥攐thers engage both styles, as seen in Rocks and Weed (2017) and Still Life with Rainbow Pitcher (2019). What鈥檚 more, there exists an interesting tension between humor and gravity in Craig鈥檚 sensitive forms. Cat in the Coffee (2019), for instance, is a snapshot of a benign accident in progress. At the same time, it is a serious examination of composition and form: the lean body of the cat stretches diagonally from one corner of the painting to the next, and a pattern of repeated coffee mugs in the background adds visual texture.
Reflecting on her own work, Sarah Lubin states that 鈥渟hapes become people, spaces flatten and expand, and time is suspended.鈥� We can see clear examples of these elements in Lubin鈥檚 recent body of paintings, in which contemplative figures, decorative patterns, and abstracted interior spaces dominate her compositions. Her quiet paintings depict moments that are simultaneously familiar and uncanny. In Pinwheels (2019) two figures gaze enchantingly at the viewer behind the gleaming toys; the everyday act of peeling an orange takes on an elevated significance in Geranium (2019); and in The Measure of Things (2019) sunlight pouring through slatted blinds transforms an interior space and the elongated figures within it into spliced planes of shadows and highlights. By contrast to Craig, whose shapes appear soft with hazy edges, Lubin鈥檚 forms are defined and geometric. Even her depictions of shadows are rendered as delineated segments of color, rather than seamless gradients, as seen in her small gouache painting Interior (2019).
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Nancy Margolis Gallery is pleased to commence its 2020 season with a two-person exhibition featuring Kathleen Craig and Sarah Lubin. The exhibition will be on view January 9th through February 22nd, 2020, with an opening reception on Thursday, January 9th from 6pm until 8pm.
Kathleen Craig creates landscapes and still-lifes inspired by observation and memory. Rendered with oil paint on canvas, Craig鈥檚 paintings explore the relationship between abstraction and representation. She captures the essence of her subjects鈥攄ocked boats, vases of flowers, distant islands鈥攖hrough abbreviated forms and soft patches of color. While some compositions appear entirely non-objective鈥攕uch as Purple Floor Still Life (2019) in which plots of color stagger across the canvas鈥攐thers engage both styles, as seen in Rocks and Weed (2017) and Still Life with Rainbow Pitcher (2019). What鈥檚 more, there exists an interesting tension between humor and gravity in Craig鈥檚 sensitive forms. Cat in the Coffee (2019), for instance, is a snapshot of a benign accident in progress. At the same time, it is a serious examination of composition and form: the lean body of the cat stretches diagonally from one corner of the painting to the next, and a pattern of repeated coffee mugs in the background adds visual texture.
Reflecting on her own work, Sarah Lubin states that 鈥渟hapes become people, spaces flatten and expand, and time is suspended.鈥� We can see clear examples of these elements in Lubin鈥檚 recent body of paintings, in which contemplative figures, decorative patterns, and abstracted interior spaces dominate her compositions. Her quiet paintings depict moments that are simultaneously familiar and uncanny. In Pinwheels (2019) two figures gaze enchantingly at the viewer behind the gleaming toys; the everyday act of peeling an orange takes on an elevated significance in Geranium (2019); and in The Measure of Things (2019) sunlight pouring through slatted blinds transforms an interior space and the elongated figures within it into spliced planes of shadows and highlights. By contrast to Craig, whose shapes appear soft with hazy edges, Lubin鈥檚 forms are defined and geometric. Even her depictions of shadows are rendered as delineated segments of color, rather than seamless gradients, as seen in her small gouache painting Interior (2019).
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