Impromptu

Tint’s visual vocabulary of abstraction creates expressive paintings that excite the eye with energy, light and color. “The emphasis in [her] luminous work is on the sensual properties of color and surface” (David Ebony, Art Critic, Art in America). Driven by the boundless possibilities of a large–scale canvas, the artist works in a variety of methods that include paint pours, drawing and collage. Art critic Karen Wilkin reviewed in Art in America: “Francine’s strengths have always been her idiosyncratic sense of color, her ability to draw energetically at large scale, and her refusal to make ingratiating pictures.”

Zhang's work is best understood as the intersection between East and West, putting in dialogue Western post-expressionism with traditional Chinese painting. Her artistic practice uses fragmentation and hybrid techniques to explore the "vulnerability of human nature" and the "common state of human existence" under the influence of popular culture. Her focus is on the perceived low status of women and children in society.

Osvaldo Mariscotti's art is an art of fundamentals: color, line, and the possibilities inherent in their variation and repetition. Using this economy of means, Mariscotti creates an expressive world that draws on sources as diverse as nature, classical music, and the early pioneers of abstraction.

Reductive in means but expansive in effect, Mariscotti’s painting is best situated in the tradition of the early abstractionists. In the first decades of the twentieth century, artists Kasimir Malevich and Piet Mondrian each sought to reduce painting to its essential elements. They developed abstract styles, “Suprematism” and “Neo-Plasticism” respectively, that facilitated the clearest expression of universal aesthetic principles. The original language of abstraction—Malevich’s forms floating through space, and Mondrian’s exclusive use of flat planes bounded by horizontal and vertical lines—finds an entirely new and contemporary reimagining in Mariscotti’s work.