Caitlin Keogh at Overduin and Co.

At Overduin and Co. in Hollywood, Caitlin Keogh’s paintings include an array of symbols, figures, and filigree that are arranged across the canvas, spilling off the artwork edge. In fact, this detail allows the seven large paintings in the exhibition, some of which are arranged as diptychs and triptychs, to all connect into one continuous image. Keogh’s style is flat and graphic while leaning into absurd and fantastical imagery (one painting includes a sort of “egg man” with a top hat and faces sprouting from his bellow and pointed back). Yet, there is an underlying mysticism across the works—the stacking symbols taking on a tarot-like symbology.

In the press release, Keogh speaks of the artist Mondrian, and his ghost-like art historical presence, as well as her therapist who recently passed and has been visiting her in dreams. Mondrian’s influence comes in by way of woven grids that float behind her painted forms, yet unlike Mondrian’s sharp adherence to the canvas edge, Keogh’s paintings bleed together and encourage fluidity rather than harsh borders. Across this set of paintings, Keogh sets up a personal vernacular that mixes and floats together to imply a multitude of potential arrangements and outcomes—some taking cues from the past, while also breaking the rules and charting a new path forward.

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Photo: Installation view of “Waxing Year” at Overduin & Co., Los Angeles. Image courtesy of the artist and Overduin & Co.