Denise Bibro Fine Art, 529 West 20th Street 4th Fl., Chelsea, NYC, is pleased to announce its inaugural exhibition of its new space, PLATFORM, with the exhibition Breaking the White Light curated by Scott Malbaurn and including artists: Timothy App, Michael Brennan, John Cox, Matthew Deleget, Linda Francis, Gerry Hayes, Changha Hwang, and Rosanna Martinez.

Like a prism that breaks white light into a color spectrum, these artists find ways to break up their surrounding environments, rearrange them, and reintroduce them to the viewer.

Breaking the White Light features eight artists ranging from emerging to mid and late career. They work with abstraction and processes associated with this practice. This show is an attempt to put forth a manner of abstraction that crosses formal and conceptual ideas. Many of these artists pull from abstraction’s history. They bridge paradigms that have risen from abstraction such as minimalism, geometric abstraction, suprematist and color field painting.

The correlations found in the work are didactically inclined to present thought-provoking approaches to a non representational and analytical based work. The work ranges from Timothy App’s austere geometric abstraction to Rosanna Martinez’s performance drawings. Martinez’s performance is a process that takes place in her studio. Interpreting the push and pull of painting quite literally, she creates monochrome drawings with paint on paper on the studio floor. She leaves traces of her fingertips and hands on her work. In contrast, App’s work is brisk with geometric certainty and a well refined craft. App leaves minimal evidence that the work was created by hand, while Martinez makes transparent her process and the tools she utilizes.

Linda Francis continues on with geometry in her work. It both contrasts and compliments App’s. She has a strong presence of the hand and brush. With tight knit control rolling through the painting, Francis allows the viewer to trace the steps of production. Gerry Hayes’s work has a sculptural and kinetic feel that presents formal ideas with possible functions of a suprematist idiom. Michael Brennan’s compositions relate to color field painting. With a knife, he works a smoky abyss of white on black that floats above asserted solid bands at the bottom of the paintings. Changha Hwang’s work presents us with a broad view of his vocabulary. It is vitalizing and refreshing with an elegant bustle. John Cox animates and grasps a new wrinkle in today’s abstraction that touches on technology and video games. Matthew Deleget reinterprets and illuminates street graffiti cover ups. He turns the usual attempt of camouflaging into an unusual radiant display of mark making.