Active Faith (36 x 36 inches) is a hand-cut paper work by Jaq Belcher, composed of 7,329 vesica piscis incisions. With its radially symmetrical form, the piece draws focus inward, inviting a quiet encounter. Light and shadow animate the white surface, revealing not a decorative pattern, but a presence—geometry made devotional through repetition and care.
In Numéro 2, Gibersztajn fuses expressive abstraction with subtle geometry. Rhythmic drips and washes animate the canvas, while fine linear structures emerge and recede like shifting architecture. The work holds a dynamic balance—fluid gestures carry energy and openness, yet they are steadied by a framework that anchors the composition. The result is resonant, grounded, and alive.
Brown’s Whispering Threads IV emerges from a meditation on material memory and quiet movement. She begins with upcycled Indian saris and natural fibers—each chosen not just for texture but for provenance and story. These threads are wrapped, layered, and sculpted into a surface that seems to pulse with latent energy. The work is intimate in scale, yet expansive in presence; it invites the viewer in, to lean closer, to sense its undulating tension. The fibers speak of lineage and labor, of transformation and quiet persistence.
In Dancers, Hest brings his mastery of the figure into a luminous, kinetic space. His brushwork is precise yet fluid, the lines of limbs and fabric both defined and suggestive. You feel movement even in the stillness—two bodies in delicate conversation through gesture and space. The light hovers over them, sculpting form without weight. It’s a piece about presence, connection, and the silent intensity between motion and pause.
In Megalopolis, Gordon constructs a cityscape that lives on the edge of abstraction and structure. Pastel geometry—interlocking shapes, slender lines, and layered grids—fuses into a network of forms that suggest an urban skyline without fixing it. The composition pulses with an internal logic: movement in stillness, architecture as metaphor. The palette is soft, but the energy is taut. Here is a metropolis you can feel rather than see—one built on rhythm, tension, and the poetic play of structure fading into space.
Larry was born in The Bronx, New York in 1940. Destined for a life as an artist, this native New Yorker eventually spent much of his professional career balancing his intellectual curiosity and his passion for design. Larry received his Bachelor of Architecture from The Cooper Union School of Art and Architecture and his Master of Architecture from MIT on a Compton Fellowship. He capped off his architectural career as a founding partner of what would turn out to be a major architectural firm, Lawrence Gordon Architects. In addition, Larry was an adjunct Associate Professor at New York Institute of Technology and a visiting critic at City University. With all of this said, his love of painting dates back to his attendance at Music & Art High School in NYC and the Art Students League of New York.
In Otoño, Demircioglu shapes porcelain into a sweeping, fluid form that feels suspended between motion and stillness. The folds curl and twist as though caught in a gust, yet the work is anchored by the purity of its material and the precision of its construction. The luminous white surface captures light like fabric, but carries the permanence and strength of fired porcelain. It is at once delicate and enduring—an evocation of transience held in form.
In On the Edge of a Dream 6, Le Sueur composes a luminous tension between sea, sky, and memory. Subtle hues—soft blues, greys, and pale golds—are layered and lifted through washes and gestures that evoke both atmosphere and depth. Her brushwork shifts between diaphanous veil and defined edge, so that the image hovers on the threshold of figuration. The work becomes less about depicting a landscape than about holding its sensation—an edge, an almost-remembered horizon. Light condenses and releases across the surface, drawing the viewer into the quiet space between perception and reverie.
In Force Lilac, Russell Reed builds the canvas through slow, deliberate layering of oil paint. Areas of muted lilac, gray, and pale rose press against one another, creating a surface that seems at once fragile and insistent. The composition resists fixed interpretation—edges dissolve, forms shift, and the viewer is left in a state of suspension between solidity and release. Reed’s control of tone and restraint of gesture give the work its quiet force, drawing the eye into the interplay of color and the space that opens between them.
