New York

Kathy Muehlemann

Pamela Auchincloss

Many of Kathy Muehlemann’s abstract paintings from the past half decade are animated by a tension between diminutive scale and an allover deployment of images. This tension is further echoed by the images that are geometric and referential at the same time; one image simultaneously suggests a glowing planetary orb and an ellipse, for example. The paintings—many are approximately the size of a typical hardcover book—convey an intimacy (they are meant to be seen up close), while the allover fields evoke an expansiveness that exceeds the scope of our field of vision. In maintaining this tension, Muehlemann proposes a way of seeing an abstract painting, not so much as a discrete object isolated from the world, but rather as a field of vision in which light functions as a palpable metaphor for the personal and the unknowable. Up close, the color in her paintings reads as both light and paint,

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