Matt Connors works combine observation and invention into a personal painterly grammar of abstraction that is simultaneously lyrical and awkward, arbitrary and purposeful. Color, pattern and line converge with shifts in scale, texture and opacity to pose formal, and conceptual problems. The paintings reenact and reference histories of modernist and minimalist painting, while at the same time positing subtle arguments for the form’s persistent and perhaps uneasy relevance, renewal and survival. He investigates abstraction, decoration and image-making within a limited number of formal moves, whose stripped down combinations, repetitions, and re/de-constructions nudge the classic abstract expressionist formalism of ‘push and pull’ from formal play into more conceptual and emotional territory. Grids, stripes, circles and squares often taken from decorative structures gleaned from everyday usage are re-presented as, and within, frames, irises, misaligned systems and off-register imprints.