Megan Greene makes drawings and collages that are dense with forms both abstract and seemingly descriptive of a structured, imagined space. Working primarily with colored pencils and graphite, she occasionally makes use of printed collage elements, spray paint and ink. Each mark is a building block for a form that in turn becomes a building block for a larger structure, which is ultimately part of a complex series of structures and objects that challenge our understandings of pictorial space. Greene uses poor tools and accidents as obstacles to react to. Her drawings are vaguely rectangular, but the low-quality scissors she uses to extract each piece from the larger whole end up deforming the paper. Hers is a responsive process, the finished work ending up as the result of her shifting relationship to the materials and her own choices throughout.
Matthew Metzger's work is typically generated with specific experiential components in mind. The arrangement of his work within a space, as well as other possible audio or visual components (i.e. altered music recordings, white noise machines, painted walls), are as meticulously considered as the paintings themselves. The subjects of his paintings are so highly detailed that they often confuse the viewer into thinking that they are the actual object or surface portrayed in the painting, or at least a photograph of it. For Metzger, everything starts with a question of how can this be a painting, but when the work is exhibited, another layer of engagement reveals itself that is only possible when they are brought into a shared environment to be perceived and interrogated experientially.
Kristen Van Deventer is a thorough devotee of the studio; a slow, contemplative tinkerer. Although she does occasionally endeavor to respond to certain spatial concerns, she is very much dedicated to the material possibilities that Painting offers. Her paintings are immediate in that she starts with paint on canvas, and develops them slowly as she scrutinizes each mark her choices lead to. Van Deventer's work is referential (landscapes, still lives, objects, architecture, etc.) but the sources of those references are often imagined and multiplied, allowing the painting to become an amalgamation of referents, none of which are fully recognizable. The resultant pictures are indefinite, making their totalities all the more generative as the question of a pictorial subject lures the viewer into a true encounter with Painting.