Clare Grill and Margaux Ogden

Clare Grill and Margaux Ogden both demonstrate a centrality of touch in their carefully worked surfaces. Their paintings, the compositions of which are at once found and constructed, derive power from the evidence of their making.

Grill’s softly layered paintings draw from antique embroidery and domestic textiles, creating abstract compositions that resonate with the textures of memory. Working on linen, she drags paint across the surface to reveal its weave before building delicate veils through cycles of painting, scraping, and wiping. Her forms emerge slowly as if unearthed, inviting viewers into a contemplative, intimate space. Born out of intuitive decisions — often guided by natural occurrences like daylight or shadow falling across the surface — Grill’s paintings are documents of marks made with brush or fingers and colors added or removed. In essence, they tell the story of the artist’s process and the passage of time.

In contrast, Ogden’s paintings are vivid, architectural, and systematic. Her compositions unfold across the canvas in imperfect mirroring, evoking imagery from both the natural and built world. Subtle shifts in the works encourage viewers to engage more intensively, noticing the variations that animate her iterative, generative approach. Using diluted acrylic washes, she creates rhythmic, freehand paintings, allowing chance and human touch to disrupt the logic of the grid. Her colors — bold, unusual, often luminous — pulse across the surface with both an optical and emotional charge.

For both Grill and Ogden, the substrate plays a crucial role, formally and compositionally. The surfaces are not arbitrary or static; rather, they serve as a tactile element integral to the final painting. Each artist’s relationship with materiality becomes a means to contemplate broader themes such as time, history and memory. Despite their distinct techniques and visual results, both engage in a similar pursuit of sustained observation, contemplation, and response.

About the Artists

Clare Grill

Clare Grill (b. 1979, Chicago, Illinois) received a master of fine arts from the Pratt Institute in 2005 and attended the Skowhegan School of Painting and Sculpture in 2011. Grill lives and works in Queens, New York.

Grill says, "My work often borrows from antique embroidery samplers. I like their obsessive handiwork, gorgeous materiality, their somber mood and feminine energy. I unravel their imagery, layering over and then picking at it with brushes and fingers, burying it and dusting it off until each painting seems to breathe and buzz in its own color climate. To make paintings requires utter attention and complete care. In a noisy world, it's a radical act of being quiet, being open, and looking with eyes wide like it's dark out."

Margaux Ogden

Margaux Ogden (b. 1983, Boston, Massachusetts) received a bachelor's degree from Bard College in 2005, a post-baccalaureate in fine arts from Brandeis University in 2010, and a master of fine arts in painting from Boston University in 2012. Ogden also attended the Skowhegan School of Painting and Sculpture in 2011 and participated in a residency program at the British School at Rome in fall 2021. Ogden lives and works in Brooklyn, New York.

Ogden says, "As is often the case with my work, I’m searching for a gesture or glimpse into art history or contemporary life ... and then using these fragments to build out a system of abstraction. The patterned repetition of color speaks directly to my work, especially how the image evolves when it spins. There’s an eerie beauty to it. It feels very much reflective of nature."

This exhibition is supported in part by a gift from Ms. Deborah L. Brown.

Images

Clare Grill: 1) Twist, 2024 (detail); oil on linen; 60 x 55 inches; courtesy Derek Eller Gallery, New York. 2) Bell, 2023 (detail); oil on linen; 60 x 55 inches; courtesy Derek Eller Gallery, New York (header image, left). 3) Crack, 2024 (detail); oil on linen; 58 x 44 inches; courtesy Derek Eller Gallery, New York. 4) Flip, 2024 (detail); oil on linen; 46 x 42 inches; courtesy Derek Eller Gallery, New York. 5) Spine, 2024 (detail); oil on linen; 64 x 48 inches; courtesy Derek Eller Gallery, New York
Margaux Ogden: 1) Bathers (Phthalo Green, Magenta, Cyan & Red), 2024 (detail); acrylic on canvas; 70 x 60 inches; courtesy of the artist (header image, right). 2) Bathers (Cadmium Yellow, Hansa Yellow, Primary Red & India Yellow Hue), 2024 (detail); acrylic on canvas; 64 x 48 inches; courtesy of the artist. 3) Bathers (Permanent Green, Viridian Green, Pink, Green Gold, and Turquoise), 2025 (detail); acrylic on canvas; 64 x 48 inches; courtesy of the artist. 4) Bathers (Phthalo Green, Magenta, Cyan & Red), 2024 (detail); acrylic on canvas; 70 x 60 inches; courtesy of the artist. 5) Bathers (Quinacridone Red, India Yellow Hue & Magenta), 2024 (detail); acrylic on canvas; 48 x 36 inches; courtesy of the artist