Caroline Larsen's second solo exhibition at Craig Krull Gallery, entitled Poolside, combines the oozy paint of Van Gogh with the domestic pools, lawns, and gardens of Hockney. "Before settling in New York", she remembers, "we would visit LA at least twice a year. The landscape, climate and architecture are so unlike the places where I was raised, Toronto and Sarasota." Squeezing, weaving, and plopping, Caroline Larsen plays with brilliantly colored paint until it is more than just the image that it's describing. The flowers are lusciously embroidered, the pointed leaves wave off the surfaces, and the tree trunks are daubed with hundreds of juicy dots. Her skies are formed by spaghetti strings of paint in vivid arcs and concentric patterns. Larsen's treatment of her surfaces playfully reminds us that her paintings are first and foremost objects, which are materializations of her visual recollections. "These paintings were made on the East Coast with the idea of LA in mind, and they are now returning to the source of their inspiration." The paint in Larsen's mountainscapes resembles folded and bunched Navajo blankets. The surface appears to be woven and has the quality of textiles. As Larsen recalls, "my mother was a seamstress, and our home was always filled with beautiful tablecloths and pillows."

Concurrently, Craig Krull Gallery is pleased to present A Spirit Knows A Shadow Shows, a collection of all white works by Dominic Terlizzi. In this recent series, Terlizzi acts as a storyteller, baker, gleaner, mold maker, draftsman, tile setter, and mosaic architect. By transforming paint into textured mosaics, Terlizzi addresses the suspension of belief in a material world, the presence of human spirit, and the shells it leaves behind. The textural odyssey starts with ubiquitous bread products that trade their base edible status for that of preserved paint artifacts, and expands into scavenged sundries. Labor is shared, appropriated, and displaced through readymade and homemade objects cast into paint. These objects inspire nostalgia, fantasy, humor, and an examination of current events. As the work is ghost white, one color and simultaneously a reflection of all colors, the monochromatic texture behaves as a linguistic subtext for difference and similarity, where shadow and light allow legibility.