Krista Harris’ abstract paintings are lively. Made with a cacophony of materials, her application of these are vibrant with emotion. Her marks are charged with that intuitive wildness one recognizes from excellent painters. While Harris’ mark-making relies on her gut, her color choices are scientific. She usually prepares them months before laying paint to canvas. Winding shades of primary color wrap and exhume muddy greys or salmon shades; all of this splashed with quick black lines. She tends to think of her work as “environments.” To quote her: “They become blurry postcards and reconstructed maps that continually shift and evolve, much like a real place.” Krista Harris is currently based in Colorado.
German born and based Carolin Wehrmann is considered one of the world`s leading contemporary painters of seascapes and aquatic scenes. The artist has developed the genre in an extraordinarily consistent and intense way. Sometimes the effect is surface level: a pristine, throbbing peace. With her glazing technique, a result of profound knowledge of the use of pigments, oils and resins, Wehrmann achieves a fascinating effect of depth in her latest variation of contemporary realism. In the “Reflections” series she succeeds in significantly redefining the water motif. The viewer is led away from the here and now into a realm of deeper meaning and this beyond the bounds of the painting. Her upcoming exhibition “Water” contains a collection of seascapes as hypnotic and meditative like the ocean itself.
In her upcoming exhibition “Rediscovered”, Denton based painter Faith Scott Jessup works compactly while provoking the viewer’s inner vastness. She uses small panels as memory triggers: here a lone small stone or piece of ribbon, here a turn in a driveway. These painted items are then organized into collections for the viewer to piece together. By placing these nondescript things next to scenes of anywhere, Jessup generates a deep personal history via the power of association. We’re left mulling narratives lost to ourselves and maybe even Jessup as well. The paintings taken by themselves are a marvel as well. Having worked since the 80s, Jessup wields her brush like a technician. The slightest stroke moving to evoke a divot in a shell or a reflection in a car window. At once vague and specific, Jessup’s work is very much a feat of a great mind at work.