The seriality of Anne Loch’s work is essential to her conceptual project and also reveals her work’s connection to kitsch and the conventions of landscape. Loch’s new, large-format paintings pose the question of painting’s own legitimation in an idiosyncratic, yet obvious way. At first, they seem to have taken an individual path: pictures of deer against a pink background, tinged red at the edge; red rose blossoms—schematic diagrams made geometric on a black background; giant grapes, leaf and crystal formations, all demonstrate the artist’s direct confrontation with the environment.

Monumental,