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distinctive shapes. Meyer has said that after working on a series in color she often makes what she considers a black and white painting in which she mixes up warm and cool blacks in different values. They are among the most graphic works Meyer has ever painted on canvas and at six by eight feet Draw the Line has a commanding scale. Twain Double Feature and On the Double are small-scale diptychs. Meyer filled the square panels with rhythmic marks in colors ranging from bright to pale from an acidic yellow-green to a juicy magenta. The compression of the glyphs and the contrast of the colors create a jazzy energy that is settled somewhat by the calibrated balance of elements in the two halves of the paintings. The largest painting in the show the seven by ten foot diptych Jocund has characteristics similar to the small diptychs in the way that Meyer abuts rather than layers the bundled marks. But at this scale the gestures open up the width of the brushstrokes vary and the space expands. Vivace also a large painting is fresh and open. It feels both spontaneous and deliberate evidenced by the swift mark-making the clarity of the palette and the overall distribution of weight and color across the paintings surface. Double Nature at 16 x 20 inches is the smallest painting in the exhibition. It is a remarkable painting that in its diminutive format encapsulates so many of the qualities that distinguish all of these new paintings. Its impeccable balance of color and form the lucidity of its execution and something simply new about it shows Melissa Meyer confidently extending an already adventuresome body of work. Jill Weinberg Adams New York 2016