Jane Corrigan’s latest works in oil had some of the louche narrative implications prevalent within recent figurative painting, but retained the delicacy that marked the artist’s previous work. A cast of ten coltish figures, their proportions and mien familiar to those who saw Corrigan’s 2014 solo exhibition at Kerry Schuss in New York, were presented in similarly central compositions. The figures’ long limbs extend across the canvases in gently off-kilter verticals that activate domestic and pastoral settings composed of ocher and cream, Naples yellow, and Prussian blue. Corrigan’s Toulouse-Lautrecian fin-de-siècle palette, and her sparely illustrative brushwork that evokes early-1960s paperback-novel covers and children’s-book illustrations effect a certain nostalgic, fey aesthetic currently popular in painting, one often accompanied by an undertone of buzzing anxiety and
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