Confident, bold, fluid mark making characterizes much of Patricia Treib’s work. Forms slip and slide; calligraphic brushstrokes moving forwards and back. Discrete marks relate to one another in interesting ways and give the feeling of a shifting viewpoint. Treib’s are dynamic works that unfold as they are scrutinized; sometimes difficult to pin down they are reliably intriguing.
Alice Browne’s work has a pleasing directness. This is not vague abstraction. Compelling forms are described in strong colour. Brushstrokes are forthright; labour is clear. Within quite limited parameters she manages to do a lot. The way colour interacts is clearly important; structures serve both to demarcate and to bring together areas of brushwork. Many of her compositions have a sense of ‘rightness’ that makes them at once engaging and familiar.
It is clear that the physical act of making is central to Greene’s practice. Paint isn’t a means to an end; it is the end in itself. His works are grubby relics to time spent exploring. They demonstrate investment; their surfaces describing a journey. There are layers; there is movement and marks are abundant but there is never too much. Central forms are assured; they demark and define space, serving to combine distinct elements in the creation of a whole. Greene’s are confident works; they don't just hold together, they resonate.