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Amy Lincoln's modest yet powerful acrylic paintings depict f amiliar landscapes and narrative situations as both peaceful and tense. The se works allow the viewer to feel both at home and uncomfortable about thes e spaces. Many delightful combinations of influences may find themselves in the melting pot of Lincoln's paintings including Henri Rousseau\, Balthus\ , Dutch still life\, Elsworth Kelly\, Op-art\, Early American painting and more however Ms. Lincoln's paintings are all her own. These still life\, la ndscapes\, and narrative paintings celebrate and satirize painting and ever yday life.

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The images and figures in Lincoln's paintings contain ma ny complex paradoxes. The characters in her paintings seem extremely seriou s and also playfully imaginative. The paintings seem to revel in the everyd ay and point out its flaws at the same time. For example in the "The Breakf ast Table"\, Lincoln and her husband each eat two perfect untouched eggs su nny side up and two slices of bacon. There is humor and seriousness in this Saturday breakfast. The food forms the shapes of disgruntled faces in a cl austrophobic magenta room that is reminiscent of many a small kitchen in Br ooklyn. Patterns cover everything\, bright colors push forward from recedin g spaces and the figures never seem too happy despite the flowers\, view an d lovely meals in the paintings. Portraits such as "Maid of Honor" remind u s of the anonymity of historical portraits and the personal nature of posed family photos. These kinds of situations somehow seem very real and extrem ely fictional at the same time.

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Lincoln's landscapes and still life paintings hold tension and sweetness as well. The landscapes seem sprawlin g but sometimes the plants begin to close in on us. In "Night Pond" daffodi ls seem to look out from the painting. The flowers and trees wave to us in uncanny symmetry and we feel as though this is either Alice in Wonderland o r a walk in Central Park. In both the landscapes and still life paintings n ature becomes uncharacteristically organized as leaves\, flowers\, clouds a nd surfaces fall into pattern and order. It is as though this was how the w orld was meant to be or the way one may unconsciously remember it. Despite the hope found in these patterns and bright colors there is always somethin g looming in each painting. These paintings leave room for the imagination of the viewer to kick in. There might be an approaching wind\, an awkward s ilence\, a room closes in but the viewer is safe for now in these silent mo ments between events.

DTEND:20130224 DTSTAMP:20140416T111013 DTSTART:20130202 GEO:40.7091616;-73.9509011 LOCATION:Projekt722\,722 Metropolitan Ave Second Floor\nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Amy Lincoln: Plants\, Portraits and a Distant View\, Amy Lincoln UID:257658 END:VEVENT BEGIN:VEVENT DTEND:20130208T210000 DTSTAMP:20140416T111013 DTSTART:20130208T180000 GEO:40.7091616;-73.9509011 LOCATION:Projekt722\,722 Metropolitan Ave Second Floor\nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:Amy Lincoln: Plants\, Portraits and a Distant View\, Amy Lincoln UID:257659 END:VEVENT END:VCALENDAR