Hailing from Fredericton, New Brunswick, Joey Haley presents his American debut exhibition, Weird Waters. Lush, expressionistic brushstrokes painted on smooth artist board illuminate the bizarre world of the artist’s imagination. His prodigious characters appear to flourish in a defunct, futuristic epoch, ironically recalling classic scenes at times (reclining nudes, court musicians, vanitas portraits, etc.) despite their peculiarities. These visions are set in some sylvan, white-washed landscape, as though encased in a vague void. In accompanying drawings, Haley’s idiosyncratic figures are depicted in small, sinuous pencil sketches that echo the fluidity of his paint handling.

The emblematic images in Chuck Webster’s most recent body of drawings relate to one another in series the artist calls “working groups.” Webster’s contemplative process informs the ability of these works to stand alone, as well. Using torn selections from a vast collection of antique paper, the artist refines his vocabulary of color combinations and biomorphic forms in colored pencil, ink, and watercolor, creating sequences of exuberant abstractions. Each dynamic jewel evinces a sophisticated practice nearing automatism. These organic and immediate dialogues balance Webster’s practice of high-finish, labor-intensive oil paintings. His third solo effort with ZieherSmith, this exhibition coincides with Webster’s inclusion in The Painted World, curated by Bob Nickas and on view at MOMA affiliate, P.S.1 Contemporary through January 30th.

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