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AUGUST 2026
Pieter Greeff: Recent Abstracts
Pieter Greeff’s recent abstract paintings are organized through color, geometry, and the active relationship between forms. Bright blocks, bands, angles, and radiating structures create an immediate sense of energy, yet their vitality is neither spontaneous nor uncontained. Each composition depends upon careful placement, repetition, interruption, and counterweight. The paintings feel fresh and direct while remaining deliberate in their construction.
Across the exhibition, Greeff moves between compression and expansion. In some works, rectilinear forms accumulate into dense, interlocking fields, creating structures that feel almost architectural. In others, angular shapes extend outward from a concentrated center, opening the composition into the surrounding space. Order is always present, but it remains flexible. Alignments shift, intervals change, and colors press against one another, keeping the eye in motion.
Color does not merely occupy the forms; it determines their force. Saturated blues, reds, yellows, greens, oranges, and pinks establish weight, pace, and emphasis. A narrow bar can redirect an entire composition, while a bright field advances and a quieter passage recedes. The chromatic confidence may recall aspects of Color School painting, but Greeff’s compressed geometry and sharply articulated structures give the work its own character. Color becomes a means of constructing space rather than describing it.
These paintings represent an important evolution within a practice sustained over many decades. Greeff’s earlier work engaged closely with landscape, atmosphere, light, and the reduction of observed forms to their essentials. The recent abstractions do not abandon those concerns. Instead, they concentrate them. Recognizable subjects give way to a visual language in which proportion, interval, balance, and chromatic relation carry the experience of the painting.
Presented as a compact, concentrated selection, Recent Abstracts allows these developments to be encountered with unusual clarity. Repeated motifs, shifts in density, and chromatic correspondences emerge across the group. The works retain their individual identities, but they gain additional meaning together, revealing variations within a continuing inquiry into how color and form can generate movement, presence, and emotional intensity.
At Colloquia, Recent Abstracts provides the time and space to encounter this meaningful body of work by an artist who has called this region home for many decades. We are grateful to present these paintings together at an important point in the evolution of Greeff’s practice. Their brightness is immediately energizing, while sustained attention reveals the discipline, sensitivity, and accumulated experience that give that energy form.
About the Artist
Pieter Greeff began drawing as a child alongside his mother, Adele Greeff, a professional artist who studied with Henry Varnum Poor. He later pursued art coursework at Harvard and began exhibiting at the Soerabaja Gallery in New York City and in the Hamptons.
Over the course of a long career, his work has been shown in New York, Philadelphia, Long Island, Virginia, and elsewhere, and has entered private and corporate collections in the United States, Europe, and Latin America. Greeff’s earlier paintings were closely informed by landscape, atmosphere, coastal light, and the reduction of observed forms to their essentials.
Across decades of sustained practice, these concerns have developed into an increasingly abstract visual language. His recent paintings retain a strong sensitivity to light, proportion, balance, and spatial relation while working through saturated color, geometric form, rhythm, and compression.
For many decades, Greeff has called this region home. He continues to paint actively, extending a practice shaped by observation, discipline, and continual development. His recent abstractions bring accumulated experience into direct and energizing compositions whose brightness is immediate, but whose structure and emotional force emerge through sustained looking.
SEPTEMBER 2026
Lorna Moore: Becoming Shadow
Becoming Shadow is an immersive three-wall video installation in which Liverpool-based video performance artist Lorna Moore uses her own body, its image, and its shadow to examine how past experience remains active in the present. Working through performance for the camera, stop-motion animation, projection, and sound, Moore builds movement from sequences of still photographs. The body appears to hesitate, repeat, fragment, and re-form, caught between stillness and motion.
The shadow is not simply a visual effect. It operates as a second presence: familiar yet separate, vulnerable yet insistent. Moore describes it as a part of the self shaped by childhood memory and patterns of self-protection that can continue after their original conditions have passed. The projected figure and its shadow do not resolve into a clear opposition. They remain in negotiation, sometimes connected and sometimes estranged, in a state of becoming.
Moore’s body is both subject and medium. It carries gesture, tension, rhythm, and interruption before those experiences can be fully explained in words. In the work, memory is not treated as a fixed picture stored in the mind. It appears through posture, involuntary response, repetition, and the impulse to retreat or disappear. The installation asks what the body may remember before conscious understanding catches up.
Projected across three walls, the videos surround viewers rather than offering a single front-facing image. Sound and shifting sightlines make movement through the room part of the work. Viewers may interrupt the light, cast their own shadows, and become briefly entangled in the same visual field as the artist.
Becoming Shadow does not offer a simple account of recovery or resolution. It creates a space in which division, vulnerability, and the possibility of integration can be experienced through the body. The work asks how we live with the parts of ourselves formed by the past, and what it might mean to form a different relationship with them.
About the Artist
Lorna Moore is a video performance artist, researcher, and educator based in Liverpool, United Kingdom. Working across video, photography, sound, telematics, and interactive media, she examines how the body mediates presence, memory, and relation. Earlier projects used head-mounted display systems to exchange viewpoints between participants, telematic technologies to transmit bodily presence across distance, and heart-rate sensors that allowed breathing to alter the speed of a video.
Moore’s work has been exhibited internationally in Russia, Canada, Spain, Italy, Germany, Poland, and elsewhere in Europe. She has participated in residencies, collaborations, and festivals including Verdecoprente in Umbria, a residency at HMP Durham, and 54 Degrees North in Hull.
She holds master’s degrees in Fine Art and Digital Performance and was awarded a doctorate by the University of Wolverhampton in 2012. She has taught in UK art institutions and contributed to scholarship on interactive media.