Into the Brush : Amy Wright, Ana Monsó, Re Jin Lee

Each artist builds meaning through repeated gestures. Pigment, clay, and mark-making accumulate over time, revealing process rather than concealing it. Clay retains the imprint of pressure and touch, while pigment settles into the weave of canvas, emphasizing a relationship between hand, material, and time. The works unfold through acts of repetition, revision, and sustained engagement with their materials.

Amy Wright's paintings are richly layered worlds that continue to reveal themselves over time. What may initially appear as abstraction gradually gives way to a multitude of discoveries: an overlooked marking, a hidden object, a passage of color that suddenly comes into focus. Her paintings mirror the experience of memory itself, where details emerge unexpectedly and familiar narratives are continually reconfigured through attention and reflection.

Ana Monso's paintings evoke the essence of landscape without depicting a specific place. Working with rags rather than traditional brushes, she builds her surfaces through a process of wiping, dragging, and layering pigment, creating marks that feel both deliberate and atmospheric. Scale plays a critical role in the work. The expansive dimensions of her paintings invite a bodily encounter, allowing viewers to enter the field of color and gesture rather than merely observe it. Her restrained palette and softened transitions create a sense of quiet immersion, recalling environments that feel remembered rather than directly observed.

While Monso and Wright approach painting differently, both explore the instability of perception and the fluid nature of memory. Their works suggest fragments of experience that resist precise identification. Clear marks coexist with passages of dissolution, reflecting the way recollections shift, blur, and transform over time.

Re Jin Lee's vessels provide a grounding presence throughout the exhibition, functioning as containers of memory, gesture, and touch. Their forms preserve traces of manipulation and making, embodying a process through which organic material is shaped, altered, and transformed with intention into something enduring. Each vessel holds evidence of its own becoming, capturing the dialogue between material resistance and human intervention.

Together, the works move between object and atmosphere, structure and fluidity, permanence and change. Lee's vessels physically hold space, while Monso's and Wright's paintings seem to release it. Across the exhibition, material becomes a repository for experience, carrying the marks of time, touch, and attention.