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cessful paifitiftg with this idea in mind is the “Interior”.
The eye can move through its rich color and shape, appreciating this visual experience without the need to name the parts. The recently reworked “Figure in the Window” is also successful in this way.
The figure is very solidly painted while remaining planes seen in space. The face dissolves a bit too fast, but this is one of the questions the painter is left with...how does one structure a face without naming the person. The background in this painting is quite simple and yet the simplicity of the figure joins it well.
The paintings in the show often present a play between abstract structure and realism. June’s enjoyment of this challenging discipline is easily felt.
Sally Nash has an acute, well-trained sense of space and a sensitive eye for color. She works in a similar direction to June, trying to answer the questions: how far to let the painting go, or how much direct reference to include in order to communicate her ideas. Her varied use of the watercolor is impressive; she is open to experimenting, wanting to see all that this medium can do.
Sharp clear edges join with soft fluid edges. Paint lays atop gesso, creating texture. One feels the spontaneous movement of the paint brush and the thoughtful layering and patterning of color washes. The color is light as air or often as rich and potent as
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