Tahnee Lonsdale’s paintings are influenced by the body as object, particularly furniture, the beginning forms of which are often derived from discarded mattresses, chairs, or sofas that she notices on the side of the road around Los Angeles. Additionally, she constructs textile body-like forms out of fabric stuffed with poly-fill, which she folds into dense poses that mimic furniture, challenging notions of “use” especially relating to the female body.

Kristy Luck’s paintings invite us into ethereal settings, which hover in the space between representational and abstract form. Viewers are guided through womb-like passages and exotic landscapes that seem to fade in and out of abstraction. The imagery is mostly invented, occasionally employing recognizable forms such as flowers or waves that exist in a glowing dream state.

Michael Nauert’s expressionist abstractions diverge from the figure itself and instead seem to illuminate their absence, marking the space around where the figure might have been. Gestural brush strokes and clustered marks build abstract impressions that encourage the viewer to follow the trails of material and color across the surface, hinting at landscape briefly before becoming abstract again.

Thom Trojanowski’s idiosyncratic works further “cartoon” the figures that strut purposefully across the surfaces of his paintings, giving them moon-like shapes for faces, and blocky, geometric forms for bodies. Impaled by a spike or stomping on flames, they are determined figures that lumber around in an imaginary world.