Janice Nowinski spends months, sometimes years, working on small figurative paintings. Her subjects are suspended between flesh and paint. They barely cohere—one slip, and they’re just a smear. The paintings are felt into place to find a just-so balance of opposites: blunt, tender, awkward, graceful, remote, intimate and exposed. This is the result of perfect pitch painting—the subtlest color, the most nuanced edges, figure/ground finesse, and again, that tightly stretched line between paint and its transformation into light, air, space, weight and flesh. Essay by curator Anne Harris.