Judy Millar’s large-scale gestural paintings defy dimensions and seek to interrupt and invade the spaces they occupy. A signature of her practice is the creation of long, looping paintings that appear to pour out from the wall, forming large coils in the gallery space. Colliding notions of space and time, Millar’s paintings are, in a sense, four-dimensional, distorting the typical temporal experience of art. Whether in these tumbling paintings or her more conventional, flat canvases, Millar’s brushwork is gestural, her palette consisting of stark black and vibrant colors. She views the paint itself as a occupying a plane of its own: paintings are illusions and ideas, the canvas merely a physical support. Millar also incorporates techniques of erasure in her practice, creating “unpaintings” through the process of stripping or removing marks on already painted areas. For Millar, creation is not a linear process, and she toggles back and forth between what was, what is, and what might be.