REVIEW  by Katherine Zoraster

Upon entering the narrow gallery space, one is confronted with two seemingly different rows of works by two unrelated artists. Trying to accommodate the different schedules of Griebel and Yang, the exhibit was conceived as two solo shows shown together. Each artist’s works are lined up on one side of the gallery without infringing upon each other. 

The works of Jude Griebel stand out first because of their glowing and radiant quality against the brick wall. In this series of paintings, human presence is suggested in most of the works but is absent in physical representation, making his golden hued paintings have an empty and haunted feel. In a Still Hallway confronts the viewer with a cat standing on its hind legs, looking as though it was just startled by something – perhaps by us, the viewer. His paintings reveal meticulously constructed illusionary spaces with vivid texture and a naturalistic quality. However, their careful construction and empty stillness leave the viewer wondering what has happened to the inhabitants of that space. 

While Griebel clearly depicts the natural world yet leaves the human presence obscured, Rimi Yang does the opposite. She paints fully realized portraits which exist in a vague space made up of color and texture. The faces appear clear and defined but the bodies gradually dissolve away into the drips and impasto quality of the painted surface. In works such as Madam’s High Horse, the soft features of the face stand out and contrast with the textural quality of paint thickly applied with a palette knife to create the rest of the composition. However, the rough application of paint is tempered by the use of pastel colors to create an unrealistic, dream-like space.  

Although different in style and technique, each artist creates a personal space that both references yet dissolves the natural world. 

Jude Griebel

“Morning light, a crown of bees”, Oil on Canvas, 30” x 40”

Rimi Yang

“Milky Love”, Oil on Canvas, 20” x 24”