In her sixth decade as a painter, Judith Geichman remains committed to a sense of never-ending possibility within her own work and the medium at large. Jumping from one decade to another, there might appear to be sudden and significant shifts in her approach, but if you've had the privilege of paying closer attention over the course, you'll see her latest exhibition at Regards as the next step in a deepening process, the logic of which continuously reveals itself to Geichman within and between each new work. Recent work has had her building paintings through processes of pouring, peeling, scraping, scrubbing, and scabbing together from the remnants of others. Some works have adopted an architectural scale through her use of large floor coverings as they develop over years of receiving drips, drops, sprays and pools from other paintings happening on top of them. Such paintings are checked on over the years and at times actively worked on before returning to their jobs as floor coverings until the next progress report is due. The exhibition takes its title from the latest of Geichman's floor paintings, Wiegala, the size of which (8 x 12 feet) was determined by a single large tarp to which she attached smaller sections of other floor coverings along with other marks and scabs of paint before mounting to panels. Other smaller scale works in the show have undergone the same foot-level production, each serving as its own distinct example of Geichman’s relentless appetite to force uncertainty upon her herself and her audience through material and compositional experimentation.