Chelsea

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Richard Hogan, Jura, 2002, oil on canvas, 84 X 66 in

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benefit of the doubt) the show might also be read as continuation of the same piece.  In this scenario the entire show, at least with regard to the larger paintings, provides a variety of perspectives of the same event.  The white foreground and hazier background lines are then understood as the same form in motion throughout the body of the work.

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