PRISCILLA HEINE | El arte nos une: Museo Regional Francisco Mazzoni · Maldonado, Uruguay
This fine balance between abstraction and figuration challenges us to begin our own search for meaning.
--- Dàrio Gòmez
Priscilla Heine | Art Unites Us , a solo exhibition on view from 2 - 28 February 2026 at the Museo Regionale Mazzoni in Maldonado, Uruguay featured recent paintings and sculptures by the artist. The exhibition was curated by Dàrío Gòmez.
ABOUT PRISCILLA HEINE
Priscilla Heine is a contemporary abstract painter and sculptor whose work is defined by an emotionally intuitive visual language. Born and raised in New York City, she currently maintains studios in Glover, Vermont, and Punta del Este, Uruguay.
Heine’s work has evolved from early color-field painting to include autobiographical representational elements integrated with a buoyant topography. Her paintings are known for vibrant pigments, tumultuous brushwork, and a blend of internal and external "landscapes". While primarily a painter using oil and charcoal on linen, Heine also creates three-dimensional sculptures from collected artifacts wound within rags shaped with gesso.
In December 2023, a devastating fire destroyed much of her lifetime's artworks in her Vermont studio. Her 2024–2025 solo exhibitions, including The Inexhaustible Present (2025) and Art Unites Us (2026, Museo Mazzoni, Maldonado, Uruguay), feature paintings she created after this catastrophic loss.
Priscilla Heine has exhibited her work consistently from 1981 through 2020 at Findlay Galleries, with longtime representation in New York City and Palm Beach, and her paintings and sculptures have been exhibited at the Parrish Art Museum, Islip Art Museum, and the Heckscher Museum of Art, among others.
Priscilla Heine received a formal arts education from the School of the Museum of Fine Arts / Tufts University (BFA and a 5th-year diploma) and additional study at the Arts Students League, Bennington College, the New School and Parsons School of Design
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Priscilla Heinebranches, 2025oil on linen20 x 40 in -
Priscilla Heineforgetting, 2025oil on linen80 x 68 in
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Priscilla Heinefalling, 2025oil on linen72 x 96 in
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Priscilla Heinehonor, 2025oil on linen40 x 20 in
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Priscilla HeineHOWL, 2025oil on linen20 x 40 in
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Priscilla HeineLife In a Barrel, 2025oil on linen50 x 36 in
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Priscilla Heinepleasure ride 2, 2025oil on linen50 x 36 in
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Priscilla Heinesky so blue but still so dazed, 2023 - 25oil on linen72 x 48 in
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Priscilla Heinefloating upward 2, 2025oil on linen80 x 68 in
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Priscilla Heinecall me by name, 2025oil on linen40 x 20 in
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Priscilla Heinewaking, 2025oil on linen20 x 40 in
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Priscilla Heinemint green scream, 2025oil on linen80 x 68 in
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Priscilla Heinemidmorning, 2025oil on linen54 x 78 in
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Priscilla Heine, Untitled #1, 2026 installated in the garden of the Museo Mazzoni, Maldonado Uruguay
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Priscilla Heine, Untitled #2, 2026 installated in the garden of the Museo Mazzoni, Maldonado Uruguay
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Priscilla Heine, Untitled #3, 2026 installated in the garden of the Museo Mazzoni, Maldonado Uruguay
This catalogue accompanies the 2026 solo exhibition of paintings and sculpture by Priscilla Heine curated by Dario Gómez at the Museo Mazzoni, Maldonado, Uruguay.
Art Unites Us
The term "Malerisch" was coined by the Swiss art historian Heinrich Wolfflin (1864-1945). Works made following the Malerisch style are expressive in their application of paint with visible brushstrokes and a subtle separation of shapes through tonal color contrasts.
This creative process reveals the enormous scope of possibilities. In resistance to the policies that promote separation, xenophobia, and the deterioration of culture-our position is •Art Unites us•.
The work of Priscilla Heine, faithful representative of the New York School, trained in forward-thinking art schools native to her Northeast, with its strong expressionism, drawing with the stain, working within controlled chaos, and that like life itself, asks we tirelessly search for clarity and beauty. In this case, at the level of painting, which ranges from the intimate to the universal, and has the power to connect us as human beings. Every gesture, every stroke, belongs to all of us (Malerisch), and so the imposed differences fade. This fine balance between abstraction and figuration challenges us to begin our own search for meaning.
In our exchange of ideas and concepts for this exhibition, we realized that we shared influences from Monet to Cy Twombly, from De Stael to Joan Mitchell, among many, and that connect our strong artistic and social concerns. Thus, the creative process is a trench of resistance against barbarism.
Heine's sculptures lead the way, and her paintings introduce us to a world
Art belongs to the people
----- Dàrio Gòmez, exhibition curator
