Continuing through June 22, 2013
Drawing inspiration from a Philip K. Dick novel, the paintings in Jasmine Justice’s “All Myths Are True” are strange and dreamy, with a vague semblance of order. In the novel "The Three Stigmata of Palmer Eldritch," Dick's drug users, plus his contrived, physical layout achieve an euphoric alternate reality. In her new works, the Istanbul-based Justice offsets taped-off edges, perfect circles and precise lines with washy grounds, loose gestures and airy compositions.
With the prompting of the exhibition text, a viewer can begin to decipher within these thoroughly abstract paintings the slightest suggestions of recognizable forms. Furious dry-brush strokes and patches of color in "Chowpatty Beach" are overlaid with a map of winding, angular lines. In "Baby’s on Fire," a horizon suggested by a series of receding stripes sprouts flora-like curlicues. The framework of horizontal lines beneath the upward eruptions of "Edge of My Mind" is almost completely concealed by cloudy pastel washes and shapes, in keeping with Justice’s manner of overriding the formal order of her paintings with unique, delirious design.
