Paul Feeley’s early work consisted primarily of painted portraits, murals, and expressionistic paintings, but in the mid-twentieth century he began to suppress gesture and representation in favor of a simplified vocabulary of pulsating forms. During this time Feeley developed his signature organic shapes, an idiosyncratic vocabulary of loopy figures such as bowling pins and light bulbs. Transformed into spare, gridded compositions that are both abstract and symmetrical, these paintings in flat, muted colors possess both graphic mastery and understated complexity.