The Sublime and Illumination
Rachael Wren and Mary Shah - In the Ecstasy of the Sun
by Taylor Bielecki, June 24, 2026
Installation View, Photo courtesy of the gallery and Artist
The combination of the works of Rachael Wren and Mary Shah are steady, tranquil, and magical. While both artists’ processes vary from each other's, the blending of their landscapes and abstractions meld seamlessly within this exhibition in their own unique ways. Walking into the gallery at Rick Wester Fine Arts, you are welcomed with an energized display of works on canvas and paper, some mounted on panel and some on canvas frames. Inspired by nature, and inspired by light and the interaction of colors on the surfaces and amongst the pieces themselves, each artist uses plein air in their practice to capture their own illuminating take on the natural world. The landscapes change with the seasons, the light changes as the day passes, and both Wren and Shah seek to capture those wonderful moments of transition to present to viewers.
Upon entering the show, I felt the works of both artists compliment each other immensely well. Wall to wall, it’s as if the paintings weave together amongst each other, Wren depicts the density of nature and forms of forests, while Shah brings me into a deep exploration of light, what appear to be forms of ice, and the endless reflections it offers. Although visually, both artists’ works are quite opposite in execution and result, they each share roots in a plein air painting practice as a foundation. Wren uses color and brushstrokes to build an environment, build a place to explore, a place where anticipation and wonder dwells. In paintings such as Invitation, Wren uses color and contrast to build a space. Sturdy forms that stand in abundance, resemble trees, as light and earthy colors bounce off of each other simultaneously. It’s as if sunlight is trying to peer through the canopy above.
It is often interesting to think that trees grow so high in an attempt to reach the sun, but in turn, block the sun from anything down below. However, the forest still flourishes. The tree trunks and grounds are littered with colors, life and energy. And as Wren intricately articulates within her paintings, the various areas where light breaks through, the glowing yellows and greens illuminate very strongly, like in the works titled Daydream or Uncertainty Principle. By using value and optical mixing, Wren builds space. The space within the paintings becomes expansive, even endless as we peer to the far back of the space, only to see what could be plenty more trees in the distance.
Rachael Wren, Uncertainty Principle, 2025, Oil on linen, Signed, titled and dated in ink on the reverse, 36 x 36 inches
Mary Shah, Titania's Nest (For Becka), 2026, Oil on panel, Signed, titled, dated in, marker on the reverse, 30 x 30 inches
Mary Shah dances with nature in another way within her works. While Wren utilizes optical mixing immensely well, allowing color layers to bounce off each other, Shah is a master blender of luscious layers of color and surrealist, flowing shapes of animal and plant forms. Prior to reading about Shah’s forms being inspired by plant and animal life, I took them as ice, refractions of colors, edges and crevices revealing themselves within the light. Especially in the piece titled Titania's Nest (For Becka). Shah’s darker blue shapes seemed otherworldly- expanding the shapes within her works and allowing us more spaces to explore.
Once I read about her forms, I enjoyed both readings of the works, as they both were still surreal, a bit liminal. Rather than taking us through a walk in the forests of the unknown like Wren, Shah’s layers and accumulated transparencies create subjects and an environment from an unknown world. One piece I had spent a good amount of time with was Dripping Dream Fractals, where the forms did appear otherworldly, as if they emerged from a different solar system. The background has a looseness to it that resembles clouds, that also seem to be pulling light through the flowing purple forms. And my gaze shifts from looking at layers to looking at it as if it was an aerial view. One where mountains and other topography meld into each other and re-emerge around another bend. I enjoyed how Shah builds space through color, layers, and forms, and allows the audience multiple viewpoints within the work, making the spaces with her paintings also more expansive, and in turn, making exploring even more enticing.
In the Ecstasy of the Sun is a fitting title as both artists use light to activate their works spectacularly. Wren’s works on paper and canvas depict the sun as a more emerging color. Allowing light to energize the piece and activate the space within the work. While Shah’s oil paintings and watercolor abstractions use light to separate forms, build space, and allow colors to layer over each other. The idea of the sun or sunlight in Shah’s work especially shows in her watercolors, like Moonlight Song (Blue Lace Agate), where sunlight warms edges and curves of what I still see as surreal rock formations or crystals. Reflections and refractions of light become integral parts to each of these artists’ works, and within the exhibition, it is as if the sun is indeed bringing ecstasy into the energy of them. And each artist uses plein air differently, Wren depicts mystery and a steady tranquility. While Shah paints the sublime. With a slow attuned energy and a wonderful attention to detail, layer, and illumination.
Installation View, Photo courtesy of the gallery and Artist