Brooklyn-based Kadar Brock uses a medley of oil, acrylic, vinyl, and spray paint for brash and overbearing pictures that pit geometric lines against sloppy blobs and spatters. The paintings' bold, triangular structures appear constantly threatened by disintegration, as every element — textures, thicknesses, garish colors (excepting his monochromes), and incongruous juxtapositions of unlike forms — is designed to clash. Brock's disingenuous titles, such as Night Time Is the Right Time , Midday Morning Mist , and et in arcadia ergo (a signed, paint-splattered wooden bench), beg one to dismiss him outright, but only before his satisfying and surprising aesthetic confrontations catch the eye. His works may be calculated bad-boy provocations, but that doesn't mean interesting formal gestures can't be found throughout.

-Jon Davies