Three very different artists, Heinsohn, Lockwood, and Seapker each display highly developed and distinctly individual practices. Heinsohn and Seapker create paintings that present the viewer with rich color relationships, often utilizing strong complementary contrasts within crafted compositions. Each artist employs a very specific formal language of construction in his work. Seapker's painterly language champions the brushstroke. Each mark is applied with a discipline that communicates to the viewer her specific intention, and those intentions work in concert, both as distinct building blocks and as parts of a woven organic whole. Likewise, Heinsohn's work must be described as painterly, albeit painterly in a very different way. His brutally physical works present paint more than they present brushstrokes, or scumbles, drips, scrapes, or any of the marks one expects to find in a painting. In Heinsohn's works, paint itself takes the center stage and viewer can only begin to imagine how the artist managed to apply so much of it onto the substrate. Whereas Seapker creates breathing tapestries of painted marks, Heinsohn concocts a molten soup. Lockwood's folded paper sculptures also utilize a modular construction. He sources and employs discarded lottery tickets, folding them into building blocks for snake-like wall sculptures and freestanding shells and seaforms. Often single works will utilize thousands of individual tickets. Complementary color relationships, derived from graphic design inherent within the lottery tickets, assert themselves within his unified color themes as well. Lockwood chooses these discarded tickets as a painter chooses paint.
Each artist puts the physicality of materials and process in the forefront as a disciplined practice. For Seapker and Lockwood, that discipline comes in the way techniques that are specific and calculated, measured and precise. For Heinsohn, it would seem that paint is given free reign, and the discipline reveals itself through the artist's amazing control of such copious quantities of the fluid material. Each of these practices disclose not only the artist's rich skills in material processes, but also a reverence and love for working with these materials in the studio. An object, a representation, a color may come to be in a simpler way, but for these artists a longer, more complex language is necessary.