Laska does not only paint over the fabric in order to meld it into the painting. In another work, she allows the fabric’s native patterns to form part of the painting’s composition, thereby melding it into the painting by hiding it in plain sight (for lack of a better phrase).

There are several instances where Laska uses strips from a red and blue plaid laundry bag. This is the only fabric that is left immediately recognizable. For me these bags form the counterpoint to the now omnipresent Ikea bags, and thus can be employed as a counterpoint to all that Ikea represents, particularly for a New York City-based painter, who must be aware of and affected by issues of corporatization and gentrification.

After sitting (or more accurately, standing) with the paintings for a minute you come to notice and be affected by the field of grey that seems to hide in the background, forming the neutral default color for the series; In one painting it dominates just slightly more than half the canvas — threatening to encroach — but it is present throughout. The grey adds a sense of gravitas that lurks behind the colors, the patterns and the play with fabrics. This sense of metallic menace has a very thrilling sort of appeal.

Situated behind the Michael Stipe exhibit, you will find the four untitled paintings in a smaller room that Journal Gallery has dubbed “Tennis Elbow.” I was thrilled to find Laska included, as Tennis Elbow consistently shows painters who innovate painting, finding ways to keep the medium relevant. More specifically, painters whose innovation eschews attempts to shock you with extra bold formal flavor, but rather reward your patient consideration. Perhaps the room is small in order to conduce such consideration. Laska epitomizes such a painter in my eyes, and thus it is very satisfying to see her new work in the Tennis Elbow space.