Large rock-like objects hover somewhere between 2- and 3-D, before a warm, yellow-orange light.

Where We Stand

Top-heavy and improbably balanced, the risky equilibrium of these boulders threatens imminent collapse, and the perspective is disturbingly uncertain.

A figure with their brunette hair in a bun, wearing an open-backed dress, faces away from the viewer, their head slightly tilted.

Red Boys and Green Girls

These works by Rubin are additionally meditations on the practice of painting, demonstrating how a few, sure brushstrokes can be used to suggest light falling on form, defining a mental state or conjuring a mood.

On the surface of a square with crude edges radiate exact circles, etched into what looks like a rose gold brass, from the center to the far edges.


Ironically and satisfyingly, the highly intellectual process of creating these works — grounded in physics and color theory — generates supremely sensuous and transcendent paintings.

An orb, with triangular rays of mellow blues and yellows, is a hollow brown mass at its center.

Color Study

In every instance, these works are remarkable not only for the gorgeousness of color and mysteriousness of process, but also because of the tranquility they exude.

Just behind an infinitely diverse grid of color, a topography materializes, organize textures othered by a digital haze.


The jumping-off place are artworks referring to lexicons or cartography, which become metaphors for finding our place in the universe.