Luhring Augustine is pleased to announce In relation, an exhibition of new paintings by Emily Kraus, opening at the gallery’s Tribeca location on April 11. Marking the London-based artist’s first solo show with the gallery and her first in New York, the presentation will run through June 13, 2026.

Kraus’s large-scale abstract paintings pulsate with the rhythmic energy of maker and mechanism. Embedded within them are the temporal and kinetic forces of their making; the expressive impact of her compositions evinces a unique process that is at once physically rigorous and contemplative. As such, her paintings reveal a strange and forceful harmony of form, resulting from the interplay between control and surrender. Striations of vertical lines ripple through her compositions, serving as counterpoints to the wild sprawl of color that weaves across their surfaces. Vibrating with an eloquent stutter, the work reveals subtle modulations and sudden accents that echo repeated patterns found in nature, such as the cadence of breath or the ripple of waves.

Kraus’s methodology is rooted in her background in somatic and meditative practices. Inverting the traditional choreography of painter and medium, her process embraces a combative exchange between conscious and unconscious action. She creates her abstractions using a cube-like apparatus of her own design: a structure composed of steel struts that function as rollers, around which she loops raw canvas. Kraus works from within this cocoon-like enclosure, applying paint by hand, and as she pulls the material through the structure, the pigment smears and unfolds into evolving patterns. Inherent to the process are fluctuations of chance, which Kraus harnesses in dialogue with her deliberate gestures. The resultant works are a synergy of opposing forces—organic and vigorous compositions shaped within a rigid device. Evident in this new body of work is Kraus’s continually evolving relationship with her apparatus. For her installation at Luhring Augustine, Kraus expands the scale of this practice, with paintings that stretch beyond the gallery walls, interrupting the architecture and drawing the viewer into a heightened physical and temporal engagement with the work.