In his second solo exhibition at the gallery, Nate Zoba reintroduces heavy brushmarks into his paintings through chevron forms. Zoba references his previous body of geometric color-field paintings, which left little evidence of the artist’s hand, through the grounds of the new work upon which the brushstrokes are applied.  The chevron forms, manifest in impasto palette-knife application, aren’t patterns but are rhythmically replicated, inverted, and sequenced, to form closed systems that are occasionally severed.  Through these juxtapositions, Zoba interrogates, conflates, and fragments the ideas of presence and erasure, pattern and symbol, surface and ground, the centred and uncentred.