Architectural Color

radiating perceptual energy

Dee Solin’s half-century-long abstract practice positions color as a rigorous, highly structured, non-verbal language. In her new body of work,  Architectural Color – Radiating Perceptual Energy, Solin strips form down to its essentials. She leverages a disciplined minimalist aesthetic to generate high-octane color interactions that hum with optical resonance.Solin’s trajectory is defined by an enduring devotion to pure color and geometry. She earned her BFA from the San Francisco Art Institute in 1976 and her MFA from the School of Visual Arts in 2017. Decades of single-minded studio experimentation culminate in these new, phenomenological works. By fusing unadulterated hue with hard-edged geometry, Solin make the viewer hyper-aware of their own act of seeing. She invites a somatic presence, offering the viewer an unmediated, positive visual experience.

At its core, the new works argue for the urgent reclamation of Minimalist thought. Solin traces her lineage back to the radical early abstractions of Kazimir Malevich’s Black Square (1915). She aligns her practice with the structural color theories of Bauhaus masters Josef Albers and Johannes Itten, the avant-garde spirit of Black Mountain College, and the formal clarity of Ellsworth Kelly, Donald Judd, Agnes Martin, James Turrell and Carmen Herrera.

In a contemporary landscape dominated by digital saturation—social media curation, algorithmic scrolling, and narrative-heavy art—Solin posits that we have reached a point of cognitive overload. Her paintings offer an antidote. By rejecting narrative and representation, Solin utilizes color as a gateway to the psychological and spiritual. Architectural Color celebrates the absolute autonomy of color and form, proving that in an age of noise, pure abstraction remains a radical act of quietude.

Most recently Dee exhibited at Red Dot Miami during Art Basel Week, winning an award for Best New Exhibitor. Her paintings have been presented in both solo and group exhibitions with prominent New York City Galleries since the early 2000’s, the Andre Zarre Gallery (Chelsea), Sideshow Gallery (Williamsburg), Flatiron Gallery and Phyllis H. Mason Gallery (Manhattan), to name a few. Her work is in private collections in the USA and Europe.

Today, Dee divides her time between New York and Florida. She works primarily in Hudson River Valley studio producing optically vibrant conceptual paintings