#geometric-abstraction

#geometric-abstraction

In many ways working in the tradition of Kazimir Malevich and Josef Albers, his compositions employ a language of squares and rectangles known as "Cells" and "Prisons," connected by bold lines called "Conduits." Together, these geometric and linear arrangements tap into the inherent geometry that structure reality, and conceptually refer to the construction of everyday life, both public and private as well as physical and psychological.

Over the past two decades, Clare Rojas has developed a deeply personal visual language that is equally rooted in mythology, ecofeminism, as well as the legacy of abstraction. Moving freely from dense, fantastical landscapes to minimal compositions, Rojas' own experiences are often the starting points of her paintings, connecting these to nearly fantastical depictions of the environments in which she works.

In Bless Babel, each painting builds around a singular central niche, suggesting the absence of a subject. Confronted with this vacancy, the viewer finds themselves at the center of Kleberg's geometric abstractions. Influenced by architectural and ritualistic spaces, the works in Bless Babel investigate the tropes through which conception is framed by institutional or personal belief. Kleberg's paintings are not interested in objective truth, but rather in how belief transforms our relationship to space and objects.

The constraints imposed by the limited materials create a tension between predictability and variation, between system and spontaneity. Much like a cartographer's grid, these compositions are born of both discipline and play.