McKenzie Fine Art: Exhibition: Repetition and Seriality 2026

55 Orchard Street, New York, New York 10002 212 989 5467


	Repetition and Seriality June 13 - August 21, 2026
	Repetition and Seriality features abstract paintings by twelve artists who embrace repetition as a foundational aspect in their work, and in many instances create paintings in series: Paul Corio, Lori Ellison (1958-2015), Gabriele Evertz, Patricia Fabricant, Jenny Kemp, Brad Melamed, John Mendelsohn, Rob de Oude, Richard Tinkler, Kim Uchiyama, Don Voisine, and Patricia Zarate. Recalling organic forms, Jenny Kemp’s grid of banded, nesting coils of gradient color are set over a vivid blue field with softly undulant shapes. Kemp varies each coil through subtle color shifts and rotational positioning. Similarly, Paul Corio sets a 12-part tonal color wheel at play, positioning the lightest wedge according to the winning results from New York racetracks. The wheels form obliquely set squares anchored by diamonds, in a composition derived from a classical Roman pattern which the artist has used for nearly a decade. John Mendelsohn investigates light and pattern variation using repeated disc imagery on a shifting tonal ground. Grooves of black oil paint are set into molding paste, with emanating rays shifting and shimmering in the dense constellation of dark, sparkling shapes. Working wet-on-wet, Richard Tinkler creates richly patterned surfaces in oil paint through the repetition of structured brush marks. Shifts of color create flickering light and movement in his radially patterned geometric compositions. Patricia Fabricant begins her dynamic patterned paintings with an under structure of wide concentric rings. Overlaid with curving linear elements and elongated leaf-like shapes in bright tonal variants, she creates densely charged fields of vivid radiating color. Kim Uchiyama has long used a post and lintel compositional format in her work, inspired by classical architecture seen during travels in the Mediterranean. Within this geometric structure, color arrangements are organized to create spatial play and imbue the work with a glowing light. Patricia Zarate’s ongoing series of reductive tondo pairings employ simple, overlapping squares to investigate two-color relationships. The paintings produce an optical bounce as the eye reads back and forth, while the spatial depth advances and recedes. In Don Voisine’s four-panel painting, his signature “walking X” motif, banded on four sides, is explored in shades of red, white, blue, and black. Tonal variances and contrasts between matte and glossy paint create movement both within the panels and across the group. In Gabriele Evertz’s optically charged paintings, narrow vertical bands of carefully selected color are interspersed with unexpected metallics and subtly tapering bands in multiple gray tones. Through her use of color, the space in her work gently and rhythmically undulates in a dancing, musical manner. Rob de Oude’s oil paintings are created from his established practice using a moveable guide to produce overlapping grids of structured color. While the palette is the same in both paintings, compositional and spatial modifications result from proportional adjustments, generating works that gently torque, twist, and seem lit from within. Brad Melamed investigates repetition, variance and seriality by limiting his palette to black, white, yellow, and the mixes thereof, and by repeating specific compositional arrangements on four 8 x 6-inch sheets mounted together. Here, an ordered composition of interlocking wide arcing bands contrasts with another work using similar bands but arranged more chaotically. Lori Ellison was inspired by visits to MoMA’s 2014-15 Matisse exhibition to create some of her final works, a series of small-scale gouache paintings seen here. Irregular organic shapes are scattered randomly across fields of yellow, orange, purple, and green, with a tender and devotional intensity that characterized the entirety of her work.