the past though, these paintings primarily get it right by finding a mix that keeps the compositions engaging and a little off-balance while also holding them together.

Cecily Kahn, Lohin Geduld Gallery

The color combinations, contrasts and paint handling are always interesting for the way in which they mix with or help to create the variety of forms. The effect bears close comparison to collage. The blend of organic shapes with geometry, like water with gasoline, is not typically a comfortable combination.  Too easily (and too often) the result can come off feeling inauthentic. But Kahn’s geometry is typically foiled; always 

askew, angled or seeming to fall over in deference to her macrobiotic shapes which float like free spirits.  In large part the relationship between the two is what drives the content for this work.

Cecily Kahn, Lohin Geduld Gallery

One thing that emerges after looking at this work over the years (this is my 5th review of Cecily’s work since I first saw her show at the A.I.R. gallery in 2000) is that the wide range of references for the subject matter, in part, total up to a surrealist reading.  There is something