Several of Susan Greenstein’s plein air watercolors were painted during a memorable summer spent in Anghiari, Italy. Through her intuitive, distinctive point-of-view, Greenstein explores the unique quality of light found in the Italian countryside. Her palette of colors and brushstrokes compliments the textures in buildings and plant life in a most beautiful way, whether in a Tuscan street scene or in familiar New York City urbanscapes.
Janet Pedersen’s newest works on paper, Seated Model 1 and Seated Model 2 began as simple gestural charcoal drawings from a live model. Pedersen goes on to redefine the figure in an imagined space by developing the drawings with the addition of acrylic gouache, collage and mark making. The end results are pieces that revel in the female form as an emotionally-charged element within energized environments.
For over a year, Jo-Ann Acey has been returning to her Winter Trees series, a predominately monochromatic collection of works on paper rendered in charcoal, pastel and graphite. Working with a visual structure of stark contrasts within positive and negative spaces, Acey reveals her vision of the tree as a symbol of strength, change and gesture. Acey’s trees allude to movement and grace as is often associated with dance and music, all while implying that the surface we see also has a counterpart in what lies directly below.