Anat Ebgi

In this focused suite, structure, surface, and perception converge in a rigorous examination of domestic architecture. Executed at near one-to-one scale and developed iteratively, each canvas builds on the last through the precise and rule-bound logic of architectural drafting. Largely evacuated of personal gesture, particular details admit moments of intimacy and observation from the artist’s daily life, her son seated at the threshold of a glass door, her wife’s bare feet standing at the top of the staircase, a neighborhood cat napping on a skylight.

Building on earlier explorations of family, friendship, and the memory of home, A Boy That Don’t Bleed marks a turn inward in Hahne Quintana’s practice. This new body of work explores the mysteries of selfhood and the unconscious through the solitary figure of an adolescent boy depicted in repose and moments of contemplation

Hyacinth Canyon names both myth and place. Taking inspiration from the Greek story of beauty, rivalry, and metamorphosis, Petker pairs it with a fanciful California canyon where time folds on itself. Across large and medium scale canvases, layered and interlocking figures share a frame, yet retain a charged, separate relationship to each other.

Spontaneity of gesture and response to material drive the engine of Fabian Treiber’s paintings. Swaths of thinned paint, crisp masked edges, and abrupt textural shifts signal a process attuned the examination of artifice and pictorial mechanics. Flattened perspective, compressed space, and abrupt visual breaks push up to the bounds of representation.