Abigail Ogilvy Gallery is pleased to present Crescendo, a two-person exhibition featuring Elizabeth King
Stanton and Natalia Wróbel. The show explores the quiet intensities of becoming, how form, emotion,
and perception shift through time. The title, drawn from the musical term for a gradual build, reflects the
artists’ shared attention to transformation, balance, and the evolving rhythm of daily life. Both artists
approach abstraction as a language of growth, using gesture and material to capture how change unfolds
rather than how it concludes.
Both Stanton and Wróbel draw from their experiences of motherhood and the cycles of care and
creation it entails. Their works observe how ordinary moments, such as routine gestures, quiet pauses,
and domestic repetition, can hold profound emotional weight. Within these everyday rhythms, they find
beauty and purpose, revealing that creative practice and caregiving stem from the same impulse to tend,
to notice, and to nurture. The paintings honor these moments not as interruptions to artistic life but as
integral to it, transforming the seemingly mundane into a site of reflection, connection, and quiet joy.
Elizabeth King Stanton’s compositions evoke the tactile rhythm of weaving. Through repetition, structure,
and subtle shifts in tone, she constructs sequences that feel both measured and alive, each mark
recording time and attention. Her abstractions suggest the discipline of pattern-making but also its
release, allowing the viewer to sense the artist’s concentration as it gradually gives way to intuition.
Stanton’s work rewards sustained looking, revealing small evolutions that accumulate into harmony and
depth.
Natalia Wróbel’s paintings move with a contrasting sense of fluidity and openness. Built from
accumulations of translucent layers, her surfaces seem to move and breathe, shifting between stillness
and motion. Each stroke extends from the last, creating a visual tempo that mirrors emotional change.
Wróbel’s process is immersive, allowing form and color to emerge organically through touch and
revision.
The result is a body of work that feels suspended between expansion and containment, a meditation on
how inner and outer worlds continually reshape one another. Together, Stanton and Wróbel present
painting as a living, adaptive practice, one that mirrors the pace of growth, care, and transformation.
Crescendo is less about arrival than about the act of becoming: how art, like life, gathers meaning through
attention, repetition, and the passage of time.
