Monroe Hodder, an abstract oil painter, is interested in creating complex, layered works that express the multiplicity of our experiences. She is drawn to the urban density of life New York City and wants to reflect this intensity and the hyper-connectedness of our Internet world through a profusion of interwoven images. To express her sense of complexity, Monroe works her images in a series of intersecting layers. She says that “layers in a painting interest me because of the rich undercurrents they give to art, and because these layers can simulate the multidimensional nature of our lives.” She frequently begins paintings with a radiant field of color and builds on this base with skewed uneven grids and transparent washes. Her work then gathers a random series of images. Sometimes these images come from childhood memories, such as the outline of her family house. Often she brings a painting to a level of completion, then glazes over the surface, pushing that image into the background, and starts again to create a new resolution. The earlier images do not always appear in the final work but can be hidden under the surface, like a figure traveling behind a curtain. Monroe says that she makes opposing gestures and surfaces to talk about different kinds of being in the world. She wants to express relationships that do not always co-exist in harmony. Color is her primary source of expression, and these juxtaposed layers of color can have abrupt and asynchronous interactions. Monroe frequently creates geometric shapes or logical patterns. She is drawn to iconic forms such as the triangle, and square, but particularly the spiral and circle. She likes the Platonic quality of these shapes, but often slices them up or otherwise refigures them to reflect our disparate and segmented world. To define her sense of disoriented geometry, she has called this exhibition “Astroid Enigmas.” Astroids or superelipses are all related to but appear to be a distortion of the curve. Our complex and layered world appears both connected as a circle and inverted as an astroid. After more than twenty-five years as an oil painter, Monroe brings a depth of experience to her work that creates a range of tonalities comparable to a musical composition. Despite her different forms of attack on the canvas and the debris of many layers, her images in the end form a unified field.