Joyce Polances’ smaller portraits and landscapes push more aggressively against
representation. The Artist begins each painting from a reference, but once the image is initially
established, she stops looking at it. Through repeated cycles of construction and
disruption—thick impasto, gouging, inversion of the canvas, and distortion of form—the
image moves away from description and toward psychological charge. Faces fracture
under pressure; landscapes buckle and churn, functioning less as places than as internal
states.

