Cecily Kahn’'s recent paintings are dominated by opposing forces. A sinewy, biomorphic shape courses through a stark, geometric space. Layers of delicate color collide with a passage of saturated hue. Kahn’s creative process calls to mind a dynamic jazz ensemble: Her first choice, often a spill or slashing mark, calls for a response… and the jam session begins. And always, wild solo riffs take off in counterpoint to the underlying composition.
Kahn favors structure, though with more license than her grandmother exhibited. In this context, its difficult to avoid seeing Kahn as somewhat a synthesis of her mother and grandmother, taking post-cubist structural cues from the former and painterly experimentation from the latter. She plays with her paintings’ depth, weaving angular and curvilinear planes of color and pattern into complex matrices. One senses, in her work alone, decorative art informing the candy-colored patchworks.
-Roger Kamholz (Full review of Cecily Kahn from the Brooklyn Rail..)