As she finds ways to overcome the formal structure of composition, Kahn has introduced new elements by increasing the active field with surface variables in relation to their interlocking rotation of curvilinear and rectilinear forms. Unlike the cubist imitation of real surfaces such as wood grain, marble, and wallpaper motifs, Kahn’s application of the technique belongs solely to the language of painting: cross hatching, stippling, ripping, abstract patterning, or simply mark making.

~ Tomassio Longhi
Brooklyn Rail

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David Kapp is best known for his paintings of the contemporary urban landscape. His paintings have been described by Ken Johnson in the New York Times as having "a dreamy, mildly hallucinatory air and a mood of Hopperesque melancholy," reflecting the harsh kinetic beauty of the city itself.

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Maine implies by omission that the intaglio of gouges and markings with which he incises his Styrofoam plates, while perhaps hands-on, is by no means invested with the mystic graphology of Cy Twombly, or with the elegant violence of Lucio Fontana. Rather, the artist seems to be cultivating the “calculated crappiness” (as he put it in a recent rave review of Ryan Crotty’s process-oriented abstractions) which helps “avoid the slick seamlessness that sucks the life out of so many pseudo-minimalist paintings, and gives reductivist pictorial strategies everywhere a bad name.

~ David Brody
Artcritical

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My work has been influenced by natural phenomena such as radically changing atmosphere, tides and geological surfaces (both above and below the waterline), wind circulation, plate tectonics and Landsat images.

~ Nancy Manter

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A feeling of punkish, wayward survival is conjured in the comingling of translucent veils, tattered plastic, and off-the-shelf glamour of reflective film. And pervasively, the cryptic, constructivist abstraction that presents itself without artifice keeps hidden in plain sight its uneasy heart.​

~ John Mendelsohn
d'Art International Magazine

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Roeth, who is based in Beacon, New York State, has been described as “…probably the best color painter in New York” by American critic Michael Brennan. He has exhibited extensively and his work is in many important collections, including the Kunstmuseum Basel; the Fogg Art Museum (Harvard); the San Jose Museum of Contemporary Art and the celebrated Panza Collection where his paintings form a site-specific installation in one of the gilded and panelled rooms of the C17th Palazzo Ducale di Sassuolo in Varese, Italy. Winston Roeth had a solo show at Ingleby Gallery in Spring 2011.

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Claire Seidl works in oil on nubby linen with a kind of all-over compositional approach. The deep saturation of her color is elaborated by the deep sensuality of her material, as the luscious oil is massaged, scraped and pressed into the linen creating a pervasive tension between surface and color. Her configurations evolve out of this process -- organic amalgams of lines and shapes that vibrate and absorb into the resonance of the whole.

~ Steven Alexander Journal

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Beginning in 2012, Peter Soriano’s work became dominated by large-scale, graffiti-like wall paintings made of acrylic and spray paint, carried out on the basis of written instructions, as well as related drawings made on pleated Japanese paper. In poet and art critic John Yau’s words: “Simply put, Soriano has become a sculptor who doesn’t make objects.”

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