Philip Guston's use of color was never arbitrary; each hue is laden with meaning, a mechanism for exploring themes of violence, identity, and the mundane.

Guston's pinks, often juxtaposed against stark blacks and somber greys, create a visual dissonance that forces viewers to confront the unsettling realities depicted in his paintings. This deliberate use of color is how he challenges perceptions, making approachable the familiar, the strange and the disturbing.

A sea of abstraction, a painting Venus Over Manhattan by Claude Lawrence, with unapologetically bold black lines crossing the canvas like wild vines, each stroke thick and alive with purpose. Nestled between the lively black strokes is a dreamy, almost peaceful color play of viola and light ocean green, a whirlwind of chaos and rhythm.

The beauty of this painting lies in its refusal to be tamed. The colors look as if they are itching to break free, to explore every inch of the canvas. But the black lines keep them in check, creating a spectacular show of organized rebellion. In this artistic universe, chaos and order aren't enemies, but partners in the chaotic and beautiful melody of life. Just like jazz.

Imagine standing at the threshold of an enigmatic forest, a labyrinthine and mysterious expanse, where the grandeur of nature dwarfs human presence. Two small boys climb towering banyan trees with crowns that stretch into the unknown.

Each painting is a portal into a dreamland, an allegory of life's journey, reaching skywards towards aspirations and dreams, or remaining grounded, deeply rooted in the realities of life.

There's a subtle beauty in these artworks, a melodic blend of melancholy and faded hues. Yet, their essence is profoundly positive, capturing the spirit of exploration and courage. Children traverse the colossal branches, undeterred in their fearless exploration of the world and of life itself.