Here’s a name that just came across my radar. Actually, I saw Kate’s work while walking through the art department at Brooklyn College and snapped a few cell phone pics that didn’t turn out, because the paintings were behind glass panel (and because I’m not a great photographer). Regardless, the images above and below are taken from her website and Facebook page, which both enchant with their mature examples and disappoint because there isn’t near enough to go on.

From what I can see, Sharkey’s imaginative landscapes are a sort of cyberpunk take on abstract expressionist Matta, whose late canvases employed futuristic purples and translucent pinks, yielding three-dimensional netherworlds, time-warps, and crystal caverns. Sharkey goes for a similar grid-like motif, done in an action-painter style, though hers are a bit more earthy.

Smaller works give off an order-from-chaos vibe, both from Sharkey’s solid drafting technique and for subtle color balances that never overwhelm the eye. She, like Matta, also improves as her size expands.

Several works are five- and six-feet long; from a distance the contents look like mountainous landscapes or vast forests, though when you move closer the sense of the architectural get stronger. Not blueprints, per say. More like the convergence of conscious building and unconscious structure—a happy medium between science and spirituality. It’s almost like they belong together, each helping the other reach its next plateau. (Brian Chidester)

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