The paintings in Epilogue by Kurtis Ceppetelli and Matt Malone, also known as Duly Noted Painters, form a body of work shaped by seventeen years of artistic conversation. Earlier this year, Kurtis unexpectedly passed away, bringing an abrupt end to the artists’ collaboration. Unlike a traditional painting partnership, their process followed no fixed formula or division of roles. At times they worked simultaneously; at others, one would step back and observe until compelled to reengage. Over time, their individual artistic tendencies became intertwined in service of the painting itself.
The works in this exhibition span the artists’ career and take on a particularly poignant presence in the wake of Kurtis’s death. A reinterpretation of El Greco’s The Repentant St. Peter uses bold black brushstrokes to obscure everything except a sorrowful eye and praying hands. The work also reflects the influence of The Phillips Collection, where the artists first met while working as museum guards.
Halifax II faintly depicts sailboats moored in a cove at night, seeming to rise and fall with the changing tide. Created during a visit with friends in Halifax, the painting is a reminder that the artists rarely worked in isolation. Their studio was often shared with friends and other artists who witnessed the creation of the paintings, many of which were completed in a single session.
Text frequently appears in the artists’ work. Green Poem I emerged from an experiment in creating poems through the same collaborative process they used to make their paintings. Though disjointed, both figuratively and visually, the piece ultimately feels unified, leaving the reader with a distinct impression. The large painting Fell extends this experimentation, with text appearing both behind and over fields of color, brushstrokes, and abstract forms.
The Matador is the last painting completed by the artists and was intended to become part of a larger series on the subject. Perched astride a wall, the Matador is seen from behind in a confident pose, anticipating his next move. Before him, two images of a bull charge across the canvas, creating the impression of a time-lapse sequence. The painting anticipates what is about to happen within the canvas, while also becoming, in retrospect, an unexpected omen beyond it.
Epilogue is therefore not only an exhibition of paintings but a record of a conversation that can no longer continue in the same way. What remains is the work itself: evidence of two artists moving toward and away from one another, responding, observing, and leaving something behind for the other to continue.
