Thank goodness for bad taste.

I first saw Israeli-Canadian painter Melanie Daniel's work in Echo Shield, her 2012 solo show at Asya Geisberg gallery. I had a frustrating experience with it: it was interesting work which I liked and wanted to write about. But I lacked the conceptual framework to describe what I was seeing.

Like Kurt Schwitters before her, Julie Schenkelberg breathes life into the lost and forgotten.