FOR IMMEDIATE RELEASE

David Kapp and Marcia Finkelstein, Paintings
January 17 – February 21, 2009
Reception:  Saturday, January 17, 4-6pm



2525 Michigan Avenue #G2, Santa Monica, CA 90404
310-829-3300, fax 310-449-0070
E-mail: gallery@bachofner.com
Web site: http://www.RuthBachofnerGallery.com
Gallery hours, Tuesday – Saturday 10:00am – 6:00pm


Left: David Kapp - "Blue Intersection" - 2008 - Oil on linen - 50" x 70".
Right: Marcia Finkelstein - "Green Space" - 2008 - Mixed media on panel - 16" x 16".

Ruth Bachofner Gallery is pleased to present a new exhibition of paintings by *David Kapp* and *Marcia Finkelstein*. There will be a reception for the artists on Saturday, January 17, 4 - 6 PM.

*David Kapp* was born and raised in New York and has painted the city since the 1970's. While his emphasis has evolved, his subject of traffic, buildings and pedestrians and skewed aerial perspectives have remained intact. The paintings extract the primal energy of the  urban landscape through a graceful balance between abstraction and representation. For Kapp, the physical painting is just as important as the scene being depicted; experiencing one of his paintings is sometimes seeing the paint before the image itself. “The city is a pretext for my paintings,” he states. “I’m not romantic or sentimental about it in any way. It’s the painting that comes first and the subject is not the object. The object is relationships between color, space, light and movement bound by natural forces.”

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In her first exhibition at the gallery, *Marcia Finkelstein* brings together a series of intimately-scaled panels in which the artist combines drawing and painting. Working on several panels at once, Finkelstein layers paint to engage the senses and create an impression of space. The colors range from matte to pearlescent, smooth to textured, saturated to muted.

The captivating, jewel-like color of Finkelstein’s paintings initially draws viewers in and sets the stage for investigation. Delicate graphite and ink drawings float in and out of the panels’ deep spaces and draw viewers into their abstract, organic worlds. The line work is both incidental and highly considered; some lines trail off in improvisational gestures, while others gather in tight, obsessively rendered groupings.

“The process,” Finkelstein states, “is ongoing and open-ended. I try not to predict the end or where exactly they will end up. Sometimes I’ll bring in some subtle lines to activate the space, generate ideas, trigger a response—maybe a small dot of color or a spiraling line. Sometimes there will be a subtle shift in surface, sometimes more jarring color combinations will evolve as areas of activity will form, come forward or recede. Eventually there is a kind of balance or un-balance that ‘works’ and I’ll consider it finished.”




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