Jonathan Goodman reviews “Susan Vecsey: In Between” for @whitehotmagazine One of the best pieces in the show is the triptych, an oil on paper, called Untitled (White/Lavender) (2019). This is an unusual piece; most of the other paintings occur on linen, whose pattern can be seen through the paint. In this work, white fills the upper two-thirds of the painting, while a low mountainous presence, composed of three different shades of lavender, takes up the lower third of the painting. Or the image could also be read as a body of water, a lake or pond, backed by low, dark hills. The inevitability of multiple readings also exists in Vecsey’s art, which occupies several terrains, actual and imagined, at once. Her decision to work in this way pushes to the side our impulse to fix the art in a specific context or meaning; its multiple valences, aided by the sharpness of outlook that comes from preparatory work before the paintings are made, created a world that impresses us as Vecsey’s own--but also clearly in the service of nature. There are times when nature offers abstraction as a part of its array of forms, and the artist knows this well. The result is not only an intelligent reading of form, it is a merger of ways of thinking with separate histories and origins--a joining of decided worth. #susanvecsey #vecsey #inbetween #soloexhibition #nycart #hamptonsartist #artreview #jonathangoodman #whitehotmagazine #noahbecker #chelseagalleries #onview #w24 #artgallery #berrycampbell (at Berry Campbell) https://www.instagram.com/p/CC4nTd7Fh1F/?igshid=10rlg5scuy8c3