June 2 – June 29, 2022

Clear Visions: Susan Lisbin, Joy Nagy, and Gail Winbury

The Personal Landscape: Alan Levine

On the Wall: Regina Silvers

Carter Burden Gallery presents three new exhibitions: Clear Visions featuring recent paintings by Susan Lisbin and Gail Winbury, and sculpture by Joy Nagy; The Personal Landscape featuring paintings and sculpture by Alan Levine; and On the Wall featuring an installation by Regina Silvers. The exhibitions run from June 2 to June 29, 2022, at 548 West 28th Street in New York City. The reception will be on Thursday, June 2 from 6 - 8pm; masks are required. The gallery hours are Tuesday - Friday, 11 a.m. - 5 p.m., Saturday 11 a.m. - 6 p.m.

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Alan Levine

Alan Levine’s vibrant abstract acrylic paintings are paired alongside his geometric sculptures, in The Personal Landscape, his first exhibition with Carter Burden Gallery. Levine described these works as personal landscapes of the mind, and did not start the pieces with preconceived ideas, rather he painted and reacted over and over as the composition emerged. The artist preferred for the viewer to interpret the works on their own, so all the works are left untitled. Levine elaborated, “In a world where much is mass-produced, I strive to create a successful, unique work of art. Over the years, I have let recognizable subject matter fade away, and, if exciting well-constructed images emerge, I am pleased. I paint beyond the camera, and through the painting process, I attempt to push past what I have expressed in prior work to search for new avenues of image, color, structure, space, and organization.”

Susan Lisbin

In Clear Visions, Susan Lisbin presents recent paintings using oil paint, acrylic, and mixed media on canvas. Lisbin’s organic forms symbolize people in spaces and explore how personal space is about connecting and relating to each other through relationships. The artist intends to illustrate how the human need to find time and space for oneself can create tension with others. Lisbin states, “By exploring tension, sexuality, and humor in my art, I illustrate how people interact, flee from confinement, or stand their own ground. Each piece is a unique platform from which juxtapositions and identities can be discovered.” In using repeating forms and bold colors, Lisbin aims for the viewers to reflect on their own lives.

Joy Nagy

Joy Nagy presents Scarf Apothecaries as part of her series Family Matters in Clear Visions. Utilizing inherited objects from her mother, aunt, and brother the work represents a reappraisal of values. Nagy states, “To me my brother’s death was not only about his loss but about the entire family and its interrelationships. The paintings, assemblages, and installations include objects and photographs that record my family’s issues of immigration, hard work, and love.” Still processing her legacy, she sorts and documents over two hundred treasured textiles, including handkerchiefs, silk scarves, handmade dresses, ornamental flowers, photographs and filled suitcases as part of her artistic process. The color and tactile quality of her silk scarf legacy are captured in a series of individual panels on paper and canvas inspired by the scarf apothecaries that were shown in the virtual exhibition Family Matters in the fall of 2020.

Gail Winbury

In Clear Visions Gail Winbury presents mixed media paintings from her current series Field of Green. Using a combination of oil paint, pigment stick, cold wax, and charcoal on linen or canvas, Winbury synthesizes gestural painting with a minimal approach. She builds a layered surface revealing and obscuring what is beneath. The ambivalence between the wish to be known, and the wish to be disguised and hidden is integral to her work. Critic and curator Dominique Nahas, writes “Gail Winbury's Field of Green paintings are her freshest and most radically poetic to date. Her deeply layered, memory-driven oil works have an edgy, elusive quality that surprises and mystifies the viewer, generating repeated viewings… Winbury reduces her color palette (or so it seems at the onset) and makes it more suggestive. Dramatic equanimity and stillness pervade her compositions.”. Winbury elaborates, “One of my gifts as an artist is to understand uncertainty, chaos, and conflict, and make them manifest in the language of paint. Art takes psychology one step further, into the wordless to that which is felt but cannot or dare not express in verbal language. Art captures what we experience before we can name it.”

Regina Silvers

From her series Crony Scrolls, Regina Silvers presents an installation of a ten-foot-long painting using gouache on paper. As a lifelong devotee to life drawing Silvers often incorporates figures in her work in a way that captures their energy, interaction, and spontaneity. This series arose from her desire to visit friends without sacrificing time in her studio, so she invited a group of her “cronies” where she drew them as they sat and talked; These sessions were repeated every few months over a period of four years and will likely continue. Inspired by the scroll format she saw in a book of David Park’s late work, the artist used a long roll of paper and drew rapid vignettes in gouache and pastel. Silvers writes, “Gestural drawing- whether in paint or dry materials like charcoal or pencil, is an ongoing pursuit of mine, and I am most satisfied when I can combine line and color fluidly and economically.”