In her painting Katherine, Katy O’Connor portrays the subject’s relationship to her purse such a way as to suggest multiple possibilities, questions left unanswered, which makes the work unusually intriguing.
There’s nothing conventionally beautiful about Virginia Fleck’s Indented Round Sod, a large, dun-colored disc of dried earth cemented together with mortar, and yet it exudes a strong, serene presence in its shape and balance of the natural and the manmade.