Opening Reception on Saturday, November 1, from 5–7pm
Municipal Bonds is pleased to present The Enigma of Geometries, Danielle Dimston's second solo exhibition with the gallery, on view November 1 through December 20, 2025. In this new body of work, the New York–based artist explores conditions of origin—moments when matter concentrates, light contends with density, and form asserts its first presence. Her practice approaches beginnings as states of formation, where energy gathers and disperses, and structure presses toward generation through both material and perceptual force.
In her watercolors, Dimston composes layers of tonal fields that deepen gradually, carrying translucency and weight in shifting proportion. Light filters through strata as depth accrues, and the surface reads less as image than as coalescing mass. Drip lines connect forms, crossing the surface and tracing gravity's pull. The process evokes a primordial scene—depth accumulating, turbulence giving way to coherence, boundaries in flux as substance condenses into order. Each work sustains that charged passage when structure crystallizes into being.
Drawing opens another dimension of emergence. Spirals dominate the field, looping outward and folding back with measured insistence. Ink lines extend and divide, accumulating into provisional architectures that render space volatile and alive. These formations expand and contract, converging only to disperse again, so that the spiral functions as both motion and form—continuity bound to disruption, order held in perpetual renewal. Through this movement, drawing becomes a record of force itself, inscribing how space organizes and unsettles in the same gesture.
Dimston's practice advances a lineage of abstraction concerned less with depiction than with registering underlying forces. By working in watercolor and ink—mediums that shift between control and release—she situates her work within a broader exploration of how matter organizes across perception, time, and scale. Her inquiry connects material process with elemental rhythm, aligning the intimate act of mark-making with the expansive systems through which energy coheres.
For Dimston, negative space holds equal life, opening intervals that shape the surface as decisively as pigment or line. Light enters, density builds, and their relation steadies the composition in balance. Paper, mark, and void combine, watercolor and drawing extending as a single practice. Together they probe the creation space where currents accrete, surge, and coalesce, worlds assembling in continual suspension.
