VERTEX | A Geometry of Edges: Osi Audu, Ginnie Gardiner, Whitney Hagen, Susanna Ronner, Lynne Tobin & Kati Vilim
June 26 - August 2, 2026 The Richards Gallery at Opus 40 | 356 George Sickle Road, Sa
Overview
VERTEX | A Geometry of Edges, Osi Audu, Ginnie Gardiner, Whitney Hagen, Susanna Ronner, Lynne Tobin & Kati Vilim
In Vertex, the artists independently create a balancing act between the physical and the perceived as colors create the depth and movement animating the paintings and sculptures together with  the surrounding space.

In geometry, a vertex is the meeting place of edges and the origin of the third dimension. The optical illusion created by this junction is what gives art its space with the goal of convincing the viewer that what they see, indeed, exists. 

Because of this three-dimensional illusion on a two-dimensional surface, the paintings by Ginnie Gardiner, Whitney Hagen, Susanna Ronner, Lynne Tobin, and Kati Vilim are intrinsically deceptive.  The arrangement of color, form, and line presents a believable reality that is defied by the flat substrates of canvas or paper. This phenomenon makes painting a deceptive art. On the other hand, the sculptor Osi Audu is contending with solid shapes and forms. His art challenges the intangible and invisible world surrounding a sculpture in a direct and deliberate way. 

The more skilled the deception, the more persuasive the illusion. It is in the edges of these very compelling artworks, the vertices where these painted and sculpted edges meet is the where the optical illusion of space begins. 

 

Osi Audu: Not content with the painted surface, Osi Audu constructs disciplined forms from metal that alternate between wiry lines and shaped planes according to the viewer's position.  

Ginnie Gardiner: Gardiner meticulously creates abstract collages from paper and color acetate, which the artist then precisely paints on canvas, exploring the subtle color interactions between light and the form's edge.

Whitney Hagen: Whitney Hagen’s paintings depend on flat color planes to shape and bend space. Her use of uniformly applied pigments depicts an implied, alternate universe independent of tonal gradations.

Susanna Ronner: Susanna Ronner's vibrating lines dance around and among colored shapes in an improvised game between mass and movement. 

Lynne Tobin: Lynne Tobin references a space beyond the confines of paper as arcs bend from the pressure of rhythmic lines drawn with ink-soaked string.

Kati Vilim: The prismatic paintings of Kati Vilim depend on the illusion of refraction as light changes through its passage from one angled edge to another. 

 

In Vertex, the artists independently create a balancing act between the physical and the perceived.  The oscillating space created by the shifting planes described by these artworks, finds its equilibrium only in the painted edge or welded joint. Like the intricate vertices of paper origami, each artist folds their space, and from this intricate work, a new dimension emerges. 

Works
Press release

VERTEX | Geometry of Edges

Opus 40 · The Richards Gallery

356 George Sickle Road · Saugerties, NY 12477

26 June - 2 August

 

OPENING RECEPTION 28 June, 3:00 - 5:00 PM

Gallery Hours:
June - July | Friday - Sunday: 10:00 - 5:00 PM
TICKETS | EXHIBITION WEBPAGE

(Saugerties, NY) - 

In geometry, a vertex is the meeting place of edges and the origin of the third dimension. The optical illusion created by this junction is what gives art its magic  convincing the viewer that what they see, indeed, exists!

Because of this three-dimensional illusion, the paintings by Ginnie Gardiner, Whitney Hagen, Susanna Ronner, Lynne Tobin, and Kati Vilim are intrinsically deceptive.  The arrangement of color, form, and line presents a believable reality that is abstract. On the other hand, the sculptors Osi Audu and Pascal Knapp, make solid shapes and forms. Their sculptures challenge the intangible and invisible world head on.

The more skilled the deception, the more persuasive the illusion. It is in the edges of these very compelling artworks, the vertices where these edges meet is the where the optical illusion of space begins. 

 

Osi Audu: Not content with the painted surface, Osi Audu constructs disciplined forms from metal that alternate between wiry lines and shaped planes according to the viewer's position.  

Ginnie Gardiner: Gardiner meticulously creates abstract collages from paper and plastic, which the artist then precisely paints on canvas, exploring the subtle color interactions between daylight and the form's edge.

Whitney Hagen: Whitney Hagen’s paintings depend on flat color planes to shape and bend space. Her use of uniformly applied pigments depicts an alternate universe independent of tonal gradations.

Pascal Knapp: Pascal Knapp;s sculptures present a visual paradox as swordlike forms penetrate deceptively soft granite referencing Excalibur in the Arthurian legends.

Susanna Ronner: Susanna Ronner's vibrating lines dance around and among colored shapes in an improvised game between mass and movement. 

Lynne Tobin: Lynne Tobin references a space beyond the confines of paper as arcs bend from the pressure of rhythmic lines drawn with ink-soaked string.

Kati Vilim: The prismatic paintings of Kati Vilim depend on the illusion of refraction as light changes through its passage from one angled edge to another. 

ABOUT OPUS 40

Created over four decades by visionary artist and Bard professor Harvey Fite, Opus 40 is a 6.5-acre earthwork made of finely fitted bluestone, rising out of an abandoned quarry at the foot of Overlook Mountain in Saugerties, NY. In 1978, Fite’s widow, Barbara, established the nonprofit Opus 40 Inc, opening the sculpture, along with 63 acres of meadows, walking trails, bluestone quarries, as well as the Quarryman's Museum to visitors from all over the world. Today, Opus 40 offers a diverse selection of events in a wholly unique setting that Architectural Digest has called “one of the most beguiling works of art on the entire continent.” 

 

 

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