By pouring, swiping, staining and combing paint, Barth, Condon and Parlato back into landscapes that
are expressive, yet purely material. Tweaking the process-driven ethos of Modernist painting with
playful glee, these artists embrace the associationsthat arise from manipulating of paint.

Karen Barth pulls polymer layers on translucent surfaces that conjure the sensation of water.
Filtering Monet through Richter's photographicabstractions, with a nod to Color Field painting,
Barth sidesteps gestural abstraction to achieve flowing pools of color. The color and process resemble
photographic emulsions that reshape the sublime with technology's inevitable presence.

Elisabeth Condon's lateral gestures and transparent pours reflect the contingencies in travel. Compressing
natural forms, text and abstract gestures in densely layered surfaces, Condon infuses the anthropomorphism
of Yuan Dynasty scrolls with the exaggeration of Dr.Seuss and outré earnestness of Raoul Dufy and Paul
Jenkins in her portrayal of a world shaped by movement.

Carolanna Parlato pours glossy skeins of paint that create topographies of the imagination.  Her shapes
toggle between bird's eye view and horizon. Breaking large areas of color with stylized blips, Parlato
engages cultural associations we project on material phenomena and unsettles expectations.  The
psychedelic color, cartoon references and Pop aesthetics of her painting retool biomorphic
abstraction with the visual glut of urban life.