Madeleine Philbin

His paintings exist at the margin between representation and abstraction, bright mosaics shot through with hints of recognizable form. Like a master choreographer, variation upon variation of themes. Where successful, separate parts of a composition all seem to be held together in relation to each other as if to pull one part, all would fold. A quality of movement that can be generated by forms at rest. Flowers, for example, provided her with a consistent thread of imagery, their decorative and symbolic associations enriched by their meaning and function in folk art and custom. All too soon they’re gone but the beauty of ’em while they’re here is pretty spectacular.