DALLAS ART FAIR 2021

"I have come to think of Phillip Allen as one of the most wonderfully challenging painters around. Allen’s cobalt blues and turquoises remind of grottos, minerals, and even Yves Klein’s belief in the infinite, while their texture suggests decay and encrusted surfaces. They are simultaneously solid and vulnerable forms.”

- John Yau on Phillip Allen in "Hyperallergic"

"In American painter Inka Essenhigh’s fantastical world, the goblinesque creatures and their environments seem to be lit from within, whether cast in the cool light of the predawn morning or in the deep burnt orange of a Chinese restaurant. With nods to Surrealism and animation, Essenhigh’s landscapes are populated by characters from folklore and mythology, in some cases existing only as faceless shadows. At a time where the real world is filled with screaming headlines and endless stressors, Essenhigh’s magic garden offers a lovely, transporting respite."

- Caroline Goldstein on Inka Essenhigh in "ArtNet News"

"In my life, I have these moments, often during some mundane activity, where I have a profound revelation about something, maybe something about the nature of a certain friendship, or about realizing I may not have the life I envisioned when I was younger. I consider these to be “super moments,” a reckoning of some sort, and I think painting is a great way to try and capture a moment like this."

- Raffi Kalenderian in "Feel the Love" by Glenn Adamson

"In a series of recent paintings by Tom LaDuke, hard-to-describe forms occupy a spatial netherworld that is neither entirely here nor there: neither entirely on the flat of the canvas, nor entirely in the spatial grid of post-Renaissance perspective. Those forms erupt in a neutral interior space that bears an uncanny resemblance to the “white cube” of the gallery. When installed in such a real gallery, then, the paintings enframe a second order of neither-nor placelessness: There is a white cube inside the canvas, and the canvas sits in a white cube. The space in which these pictures literally hang is thus doubled by the space in which strange tubes, tree-like structures, rock-like protuberances, proto-figures, or miasmatic nebulae of color precipitate from the atmosphere, somewhat as the paintings themselves (that is, LaDuke’s real paintings) occupy their (real) spatial setting."

- Daniel Spaulding on Tom LaDuke in "Glint"

"Bright, blazing, and over-abundant, his colors are too much to take in on first glance. But give them a little time, and it becomes clear that they have been laid out in meticulously engineered arrangements that are deliberate and dazzling, stunning and sexy. Linnenbrink's colors compose themselves in a wide range of open-ended rhythms." 

- David Pagel on Markus Linnenbrink in "Gestural Abstraction in the Information Age" 

“Architecture, as it is commonly understood, is designed and implemented to house the human and is itself the manifestation of our constructed realities and temporalities. When looking across the street into another skyscraper or apartment building, there are both darkened and lit rooms with shadows or people mulling about....Elements like these can make architecture almost comforting in its functional uniformity, so when such signs of life are missing, the result is in an unsettling subversion that upends and questions what we’ve come to expect of both architectural spaces and the organized linearity of time.” 

- Emily McDermott on Daniel Rich in “A New Temporal Understanding"