Two new developments in Voisine’s use of colour distinguish works in this exhibition. Some works are executed almost entirely in varying tones of black, appearing nearly monochromatic. Here, Voisine’s forms emerge from a mysterious space, enlivened by a single contrasting color. In other works, black is abandoned altogether in favor of contrasting reds in the central area, or with opposing tonalities of light cream, white and grey. In addition, the grounds in some paintings are more muted and less contrastingly light, and the geometric forms do not necessarily overlap. Instead, they about one another with a sharp diagonal edge or crease. In these light-colored works, the space reads as a distinctly sculptural or architectural environment; the illusion of a bend within the central compositional area is remarkable. In other paintings, rectilinear forms set one within another recall the architectural drawings which were the initial inspiration for Voisine’s abstract compositions. When the geometric forms are set side by side rather than overlapped, a rhythmic back and forth movement, or a sense of infinite expansion, is created. No matter the scale, Voisine’s paintings feel taut, elegant, and unswervingly sensuous in their severity.