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It stands out among the other works on display, in part due to its vivid colour scheme, but also because of its lack of a strong vertical structure.

Steir’s subtle fluid-based variations are evident in the central crimson area, but the dominant dialogue is horizontal, between shades of mahogany and honey spitting embers at each other from the edges of the canvas.

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Lean in and tiny, complex details reveal themselves: cracks in the canvas transport paint along canals; thin paint layers crack, exposing what lies beneath; evaporated mixing agents leave dark halos around splashes of egg-shell pigment.

Steir’s large, bold paintings are mesmerising in their complex layering of colour and tracing of movement over time.

Her work on show at Dominique Lévy charts the compelling progression of her style over two decades, revealing an artist adept at generating fresh ideas within familiar forms.

Deeper into the exhibition, colour returns in earnest.


Steir leverages high-contrast combinations for maximum impact: peach spatter on a red and blue waterfall, neon yellow on navy, aquamarine drenched in a shower of lemon and scarlet.

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