Violet Dennison brings together new paintings built around a recurring floral form derived from Jacob's Ladder — a mutable motif that accumulates, fragments, and recombines across surfaces drawing from Damascus tiles, Qing Dynasty ceramics, and digital processes of cropping, stretching, and layering. The paintings hold competing logics in tension: the physical quality of hand and tool — brushes, squeegees — against the directive logic of masking and vectors. Refusing resolution, the work sustains these opposing structures within an artificial, generative ornamental system.
