David Richard Gallery is pleased to present Patsy Krebs, Interlocking Series: Paintings from 1990 to 1995 in her first solo exhibition with the gallery and her first solo show in New York since 2004. The compositions are comprised of two square or rectangular geometric forms that overlap and appear as though they are interlocking and mostly all in the horizontal orientation. There is one new painting from 2021 that is differentiated by also including 24 ct gold leaf. The spatial depth and sense of volume is achieved by using Flashe paint on canvas. According to the artist, “the velvety and luminous Flashe surface is dead flat (matte) – it has absolutely no reflective capacity, which serves to liberate the color, which just hangs in the air, vis a vis the viewer, so the forms hover, connect, disconnect.”1 Since the surface is matte, the illusory aspect of the geometric forms interlocking is achieved purely through color and specifically, the artist’s selections of colors and values and their interactions to create push or pull effects in the viewer’s mind. There are 13 paintings in the presentation: six large paintings ranging from 36 x 72” up to 48 x 90”; three mid-sized paintings ranging from 20 x 23” to 36 x 28”; and four smaller paintings that range from 12 x 16” to 12 x 24”.

Patsy Krebs’ exhibition, Interlocking Series: Paintings from 1990 to 1995 will be on view from September 8 through October 1, 2021 on the Ground Floor at David Richard Gallery located at 211 East 121 Street, New York, NY 10035, Phone: 212-882-1705, email: [email protected] and website: davidRichardGallery.com. A digital exhibition catalog will be available along with images of the artworks, installation views and videos as they become available at the following link: https://www.davidrichardgallery.com/exhibit/553-patsy-krebs.

About the Exhibition:

The paintings in this Interlocking series are precise with smooth, matte, pristine surfaces. Their execution is planned, tight, and rigorous, yet, at the same time they are painterly, engaging, full of energy and provoking a range of moods. How can that be? It is because Krebs enjoys the process of painting, the spiritual, rhythmic, meditative acts of applying pigment to the painting support. Her energy, inner most thoughts and emotional connection with the process and medium leaves an indelible mark on the canvas that is only revealed to the viewers who critically look and thoughtfully engage with the paintings.

Moreover, Krebs subtle use of forms and color is so intertwined with her very being that the artist and artwork become one. This is because at the core of the paintings is her quest to animate color, light and form to define a space, both within and beyond the canvas. She strives to deliver not only a visual image to evidence the act of painting and see with the eye, but a transcendence that only comes from looking beyond the image and from that which is core in the viewer. This transcendence comes from the color, the interaction between the colors on the canvas as well as the forms themselves and interaction between the forms. The intertwining of the forms is both literal in the imagery and metaphorical as the color values, adjacencies and interactions suggest volume and space all aided by the matte surfaces of the paintings that result from the artist’s masterful control and precise application of the pigment with no sheen or reflection of light. Producing a purely absorptive surface.