Municipal Bonds is pleased to present Worlds Within, a trio exhibition featuring works by Cécilia Andrews, Solange Roberdeau, and Blaise Rosenthal, on view July 10 through August 23, 2025. Bringing together collage, drawing, and painting, the exhibition highlights practices defined by structure, tempo, and the psychological force of composition. Each artist engages in a deliberate excavation, working from material memory, sensory rhythm, and internal logic to construct autonomous realms. Forms emerge through layering and restraint, revealing underlying systems governed by perceptual, spatial, and material intelligence.
Chilean-French artist Cécilia Andrews creates layered figures through drawing and collage-her ongoing inquiry into the face as a blank page, an open structure for imagination and psychic projection. Her compositions are assembled from fragments—cut paper, gestural lines, and saturated fields of color—developed through intuitive decisions and material exploration. The eyes often serve as fulcrums, holding the image in tension and drawing focus inward. These renderings are not likenesses but vessels-forms through which multiple sensibilities converge. They hold together contradiction and complexity—symbolic, emotional, and structural-while suggesting something just beyond recognition.
For Andrews, her practice is a threshold between the seen and unseen, the physical and spectral. Influenced by the spiritual resonance of masks and the metaphysical potential of abstraction, her work seeks to access what she calls the invisible—the felt but unspoken dimension of being. She refers to this as a dialogue—a way to approach what might otherwise remain elusive. Features seem to hover between appearance and disappearance, animated by an interior force that resists definition. In this way, each piece becomes its own liminal terrain, charged with interiority that is sensed more than defined.
Solange Roberdeau, a Northern California native, creates drawings that register states of transition in the natural world—moments held in careful balance, suspended between emergence and dissolution. Using acrylic, gouache, graphite, and ink, she develops each composition through incremental marks that reflect the interplay between order and flow. Works such as Pale Blue Arching and Pink Horizon suggest a quiet brink, while pieces from her New Horizons series deepen this sensibility, opening immersive fields where boundaries blur. The logic of her language is oceanic-not as metaphor, but as method—echoing tides, currents, shifts in weather; shaping space through rhythm, movement, and delay.
At the core of Roberdeau's practice is a measured rhythm: establishing a system, then deliberately stepping beyond it. This dynamic of construction and rupture evokes a perpetual coalescence, a reflection of her coastal landscape. Titles such as Solstice and Murmurations reinforce the work's attunement to temporal and environmental change, marking cycles, migrations, and elusive alignments. Her drawings unfold slowly, through a mode of looking defined not by spectacle, but by attentiveness. Their strength lies in their refusal to resolve, offering instead a quiet reciprocity between mark and meaning, sensation and presence.
Based in the Sierra Nevada mountains, Blaise Rosenthal approaches painting as a physical proposition. In his Darker series, created with reclaimed charcoal and acrylic on sewn canvas, he composes black monochromes organized by surface, seam, and pressure. Each work is built through a sequence of calibrated actions—stretching, painting, stitching—that define subtle geometries and establish spatial rhythm. Their surface is matte and absorbent, attuned to register weight, proximity, and pause. Rosenthal emphasizes structure over image, presence over representation, constructing fields in which form establishes its own gravity.
In this context, precision takes the place of gesture. Each painting becomes a kind of closed system—internally ordered, materially exact, and resolved through method. Geometry unfolds through repetition and shift, with each decision embedded in the next. Rather than suggesting symbolism or interpretation, meaning is constructed-held in the density of the surface, the tension of the seams, the intervals between forms. It is clarity, unadorned, each work asserting a primary material truth.
