The paintings in this exhibition are selected from Recollection, a continuing series of paintings that Marks began in the spring of 2016. She has completed 126 paintings to date, with the intent to grow the series into an aggregate composed of many more small-scale paintings.
New York, 547 West 27th Street, Suite 500 The Painting CenterMap
The Painting Center presents Painting(s) from Recollection, a solo exhibition of paintings by Barbara Marks, from May 22–June 16 in the Main Gallery and Project Room. A reception will be held on Thursday, May 24 from 6–8 pm.
Barbara Marks is known for her small-scale, square, colorful paintings that are semi-abstract in nature—suggesting interior spaces, landscapes, and objects. Her work calls attention to the commonplace and the local.
The paintings in this exhibition are selected from Recollection, a continuing series of paintings that Marks began in the spring of 2016. She has completed 126 paintings to date, with the intent to grow the series into an aggregate composed of many more small-scale paintings that, when installed as a whole, will assume a monumental scale and, at the same time, invite intimate interaction.
“I use color to create space. My imagery is rooted in observation. The way I paint is driven by my interest in abstraction as economy of expression, and by my fascination with the dual role that color can play both as content and as structure in a painting.”
Barbara Marks is a multidisciplinary artist based in CT. A child of the sixties, Marks fell into graphic design and established her own studio specializing in book design. In 2001, she left that behind to study painting at Lyme Academy College of Fine Arts, earning a BFA (2005) followed by an MFA from Brooklyn College CUNY (2008). Since then, Marks has been awarded artist residencies in Italy, France, and across the U.S. and she has shown her work throughout the Northeast and in Italy. This is Marks’ tenth solo exhibition, and her first one in New York City.
The exhibition is accompanied by a publication with an essay by Rebecca Allan, co-curator.