7 July – 18 August

SUSAN MARIE DOPP

Susan Marie Dopp’s jewel-like paintings on mulberry paper give
form and dimension to the inner state of tranquility she feels
when she meditates. Dopp utilizes geometric form and color in a
reductive process.

Contrasting colors and repetition of pattern act upon the brain,
affecting its visual apparatus. By-products like haloes, ghosts
and reversals appear to bounce and dance across the painting
field. These effects activate the space between the painting and
the viewer, transforming a static situation into an event filled
with movement and rhythm. This vibration, which is initially a
visual phenomenon, gives rise to rhythms which can be felt,
literally, in one’s body. This feeling is analogous to the
experience of deep meditation. Rather than illustrating this
state, Dopp aims to trigger it, or at least direct one’s attention
toward it.
 
 
DELINEATION: Nelleke Beltjens, Dominic Di Mare,
Jacob El Hanani, Nicole Phungrasamee Fein
This exhibition brings together work on paper by four artists
using line as a their primary focus.

Nelleke Beltjens’ large-scale ink drawings are made of thousands
of minute lines that converge and concentrate at differing rates.
The marks seem to swarm across very large sheets of heavy
paper. The intersections and their ensuing density or sparseness
lend a calculated, map-like quality to the drawings, inviting com-
parison to celestial, oceanic, and terrestrial spaces as seen from
the heavens or the depths of the earth.

Dominic Di Mare’s books are comprised of drawings of layered
prismacolor and geometric cuts. Di Mare considers his imagery
to be ‘automatic writing,’ a visual language of shapes and lines.
“Narratives” are formed and unformed as one is lead, page-by-
page, through various permutations. At once two- and three-
dimensional, the drawings astonish and delight with their
exquisite evolutions on both the “front” and “back” of each page.

Jacob El Hanani uses ink on paper to make hundreds of thousands
of lines, repeated over and over. Through this repetition a field is
created, usually square in format. Planes of grey appear to undu-
late and flat spaces become three-dimensional and then convex. El
Hanani’s microscopic gestures produce grand patterns.

Nicole Phungrasamee Fein begins with four pencil points that mark
a square. Without the aid of a straight edge, she then lays down
strokes of watercolor in precisely-timed applications. Multiple
layers result in paintings of complex, luminous color in a process
more akin to weaving than traditional watercolor painting. Each
work requires total concentration and must be completed in a
single sitting. This intense and painstaking process produces work
of astonishing tranquility.

 

 
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Yemaja, for P.A. Cl.10, 2005
 
er, 10 1/2 x 7 1/2 x 2 1/5 inches
Dominic Di Mare
Untitled (Double Grid), 2003