Violet Dennison's new paintings circle around a single floral shape pulled from Jacob's Ladder. It keeps multiplying, breaking apart, and recombining across the canvases, picking up references along the way: Damascus tiles, Qing Dynasty ceramics, and digital moves like cropping, stretching, and layering.
There's a tension in the work between the hand (brushes, squeegees, all that physical mark-making) and the cleaner, more directive logic of masking and vectors. Nothing resolves. She lets both stay in play, and what comes out is an ornamental system that feels part organic, part generated.
