Reina Sugihara’s solemn paintings emerge from a structured process of experimentation, guided by an instinct to trace the haptic memory of forms. For the works in her recent exhibition “Frame,” she used two sources: a book of anatomical drawings of human bones and an egg-shaped stone. Employing oils of the highest viscosity, Sugihara starts her daily painting sessions by painting on top of the previous day’s efforts, imagining that the wood panel ground is “blank”; as a result, the finished works are closer to diary entries. They oscillate from dreamlike to nightmarish, always with a distinctive,