While the exhibition primarily shows distinct approaches and interactions with paint, the foundation for the artists’ work presents a broad range: from formal investigations to allegory and narrative; the built environment to nature; object-making to mark-making.

Throughout the exhibition, artworks take viewers through a journey that reaches across a spectrum of approaches. In some works, such as those by Tony Beauvy, Sherie Franssen, Doug Glovaski, Julie Graham and Chris Trueman, paint sits on the surface in various configurations, offering itself in pure tangibility, while other artists, such as Udo Noger, hide the source of imagery behind veils of transparent fabric, letting ambient light play a role in the works’ completion.

Benjamin Britton’s work merges apocalyptic narrative with bold expressions of paint, while figurative and nature-based elements provide undercurrents to Trang Le, Ann Thornycroft and Anne Pundyk’s painterly works. Eben Goff enters into the realm of object-making, and Margaret Griffith creates the illusion of three dimensions in her grid and urban-based watercolors.

Robert Kingston and Katrin Moller allow the process of their work to remain rough and transparent, revealing episodes of layering and sanding, while Matthew Penkala and Sharon Weiner present a more refined, finished approach. Michael Salerno and Alison Rash engage in their own versions of automatism, incorporating line, drawing and color.