SLOW BURN : Palma Blank, Jenny Zoe Casey, Christopher Dunlap, Nate Ethier and Stacy Fisher

CHART is pleased to present Slow Burn, a group exhibition featuring works by Palma Blank, Jenny Zoe Casey, Christopher Dunlap, Nate Ethier and Stacy Fisher. United by a deep engagement with geometry, materiality, and visual perception, these artists explore the quiet tensions and lyricism found through minimal gesture and color. The exhibition will be on view from June 13^th  through August 15^th with an opening reception on June 13^th, 6 – 8 pm.

Each artist engages in a methodical, deliberate process—structures evolve gradually, often through repetition, layering, and reduction. Palma Blank’s hard-edged, optical paintings juxtapose concepts of deep space and flatness, illusion and objecthood, the handmade and the machined. Jenny Zoe Casey’s tactile, material engagements—through domestic activities such as sewing, dyeing, and folding—become the language of her poetic, constructed forms. Christopher Dunlap explores the dynamic relationships between form, pattern, and perception. By layering simple shapes and complex structures, he builds a multiplicity of relationships that create spatial ambiguity and shifting depth. Nate Ethier builds visually regenerative compositions through layers of dense color and symmetry. His works are meditations on time, light, color, and human touch, constructed through rhythmic patterns and layers of hand-painted marks. Stacy Fisher’s work embodies a dynamic interplay between sculpture and painting, blending geometric structure with organic expression. Using oil on shaped wooden supports, her compositions prioritize physicality—enhancing visual impact through edges, shadows, and angles that shape the viewing experience as much as color or mark.

Together, these artists propose a rich visual and conceptual field where meaning is not immediate but emerges slowly—in the intervals between shapes, materials, and modes of making. As Arden Reed states in On Slow Art: Introduction [1], “As beholders, we actually perform artworks, as though they were musical scores.” Slow Burn invites viewers into this temporal and spatial unfolding—where objects do not declare, but suggest, and where attention becomes an act of construction.

 [1] Arden Reed, Critic’s Page “On Slow Art: Introduction,” The Brooklyn Rail, September 2017.