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A few months ago, Nora Griffin’s solo show, titled “Chartreuse,” opened at Fierman Gallery in the Lower East Side. I caught a glimpse of images of the work in digital form. The thing that intrigued me most was the shift in the new work, which seemed to have a looser quality and more painterly gestural activity compared to her previous work shown at Louis B. James Gallery in 2016 titled: “Modern Love.” Since I missed seeing the recent exhibition, I reached out to Nora to see if I could see her work in person. The experience I had with the studio visit was revealing and perhaps even more rewarding than seeing the works in the cubed gallery. Some of the art I saw, which came out of her painting rack and were large, standing well over five feet or more. I helped Nora move one work into the viewing space…

Hoist Store Shed, Leeza Meksin’s most recent exhibit at BAM (Brooklyn Academy of Music) has now concluded but it has left a mark with me and I’m certain with many others. Leeza’s work which spans painting and site specific installations continues to evolve and expand with each new project. I have been admiring her work for years and feel the most recent show is uniquely sharp for both it’s material aptitude and it’s challenging posture as work that does not depict, or rely on tropes but challenges traditional methods with a heartbeat. I refer to her work almost as a living thing because to me it very much feels this way. I can’t help but think of the work of Eva Hesse, a multi-media artist in the mid twentieth century who challenged definitions of painting, sculpture and drawing with her provocative and almost political studio habits. Eva’s work was not…

Kerry Law – Stacking paint and mortality There is an endearing seriality about Kerry Law’s painting practice. He is committed to his subjects and often works in isolated bodies of work until he has pushed the idea and subject as far as he can or can stand to. He must care about the subjects to paint them so often in isolated bodies of work – but he doesn’t fuss with them. Instead, he plays with what paint can do in different temperaments and attitudes. I’m most curious – at the moment with Kerry’s proclivity towards painting graveyards and tombstones. This may sound morbid or didactic but it’s sweet, soft, playful, sometimes graphic and like all of Kerry’s work, about much more than the subject. Kerry is using the form of a gravestone and a graveyard to connect with the future, history and mortality. He does this while also channeling art history…