ERIK SPEHN has carved out his own lexiconic niche within contemporary non-objective abstraction. With his signature juxtaposition of hard edges and dense, undulating rivulets of color, Spehn presents his most vigorous expression of color and composition to date.

His most recent work further develops an ongoing investigation into the formal dichotomies and ontological implications that are invariably suggested by the geometric labyrinths of Spehn’s compositions. The primary use of line in these works has been organized into a series of vertical and horizontal bands which are iterated and woven throughout the pictorial space, presenting a host of algorithmic possibilities.

In these new works, the painted ground has been abandoned altogether, allowing the natural linen to remain exposed. This undifferentiated space subsequently provides the eye a passive interlude from the painted gestural activity, inviting the viewer to enter a contemplative space and to pursue a slow, deliberate meditation at the interface of this figure/ground relationship.