Greg Lindquist’s wildfire painting series instill urgency to the often invisible forces of ecological and social crises. These paintings capture the elemental force of fire within thickly layered surfaces of metallic, iridescent, and chromatic glazes of paint. He investigates the connection between Romantic and Hudson River School painting with the desire and the ultimate failure of humans to exert control over nature. Rooted in the pictorial, these works simultaneously recreate and shatter media’s disasterporn images that circulate as a shock and awe of climate disaster. Lindquist creates a materially-driven surface that intensifies and eschews the photographic image. Interwoven staccato marks of complementary hues are infused with movement and energy, slowly flickering in and out of focus as though the painting had lit itself aflame.

Loren Munk's use of grids in abstracted diagrams outline intertwining connections between artists, geographical location, philosophical inquiry, and historicity. Each piece acts like a map, guiding the viewer through a landscape of thickly painted text and thought blurbs, while simultaneously inviting a contemplation of the underlying mystical relationships. By merging abstraction and narrative, mapping and archiving, Munk’s paintings insist on interconnectedness through labyrinths of history.

Roxy Paine seeks to expose the unintended consequences in the counteracting forces of industry and nature while examining entropy, decay, and the infinitesimal micro and expansive macro. In his relief canvases, Paine extrudes paint from behind his substrates to form stratigraphic spaces. Though overall descriptive, Paine’s material and chromatic choices are often unexpected and prodigious, imbuing awe and the uncanny to otherwise organic-appearing accretions. In this particular series, biological forms dissolve and reconstitute as oil drums and industrial ruin, urging nature's perseverance and resilience over human destruction.

Hedda Sterne (1910-2011) is a significant historic figure in modern and abstract art. Her work exemplifies a lifelong inquiry into perception and existence. In refusing a singularity of style, Sterne’s visual lexicon reflects her deep and evolving engagement with contemporary psychology, spirituality, and physics throughout the 20th century. Though often linked to Abstract Expressionism and Surrealism, these movements serve Sterne more as modalities of artmaking to communicate particular visions rather than stylistic choice. Her expedient use of subtle pastel hues and earthen tones display her immediate hand, encapsulating an ethereal sense of time and space: she expresses the transcendent, the fleeting, and the ephemeral.

Martha Tuttle creates tactile works that explore organic materials, process, and the interplay betweennatural and human-made elements. Tuttle has conviction in the inherent vitality of all substances in our surroundings: she grinds her own pigment, weaves textiles, and collects natural materials that comprise her works. Each piece is delicately constructed, foregrounding the meditative treatment of the surface and the labor of the artist as a form of exaltation. As poetic representations of her upbringing in her New Mexico and current residence in Montana, her work conjures the power of the landscape, with the earth below, and the spiritual beyond.

Curated by Theresa Daddezio

This exhibition runs concurrently with Theresa Daddezio: Bloom

For press inquiries, please contact Caroline Magavern at cmagavern@dcmooregallery.com.