The paintings of Andy Giannakakis are almost always small in scale and are done with oil on wood panels. Each of the seven paintings featured in the exhibition are made up of humble, visible marks and wipes that congeal into ghostly forms and shapes that touch, bleed into, and pile on top of one another. Halo-like, thin applications of paint radiate at their forms’ edges. These areas intermittently extend into the forms themselves, which are revised with veils of opaque brushwork. These gestures interrupt his contiguous shapes, breaking up the compositions further. These moments of overlay radiate deeply with a sense of each painting’s pictorial qualities. Other marks are layered more thickly, superseding and interrupting the imagery underneath. These marks bring attention to the painting’s surfaces, which ripple with a scabrous quality. These areas are at moments thinly layered themselves, returning those colors and their forms’ physical characters into the painting’s interior. Throughout this process, shards of representational resemblance alight and then fall away as kaleidoscopic suspensions of color push through or blot out the picture. His layering technique provides no sense of an order to how his gestures are laid, giving each painting a crystalline look. It is rarely clear which painted surface came first or last. It is as though their forms have resolved as an effect of the suspension of time, and would otherwise continue to bend and stretch, amoeba-like, along the surface and within the painting’s image. This sense of frozenness also reflects on each painting’s life within historical and future time. Each carries a sense of compression, holding conflicting attitudes and operating through multiple conventions at once.