Katherine Bernhardt’s pictographic paintings operate at the sloppy end of spontaneity, and  it’s no surprise that visiting Wylie’s studio - ‘stimulating, colorful, messy, and fun’ -  has increased her regard for how Rose’s works ‘appear simple but then perceptions change, and we realize they are sophisticated masterpieces’. Bernhardt employs acrylic and spray paint to depict everyday items and wildlife with sufficient vim to make them more riffs on signification than analyses of what is signified. Pizza, batteries, birds, emoji, cigarettes and shoes all come off with much the same generic energy – excuses for painting electric colours and humming shapes, rather than subjects as such.  Using a language she arrived at via the influences of fashion and Moroccan rugs, Bernhardt embraces the world’s stream of images, and her frequent locations of Brooklyn and Puerto Rico, with enough often-tropical warmth to make them her own. Here she shows a toucan, a butterfly and either a pair of owls or Darth Vader – the artful imprecision of her outlines and semi-accidental pooling of paint makes it hard to be sure what’s what. Either way, the paintings cohere around the liberating potential of flight - given Vader’s ability to levitate, something he has the self-confidence not to employ too frequently.