Contributed by Rick Briggs / If I’m being completely honest, for years I never completely got the work of Anke Weyer. Sure, she’s always had all the right moves – bold color, loose paint handling, and a juicy surface, all of which gave her work directness, spontaneity, and immediacy – but something felt off. The color was mostly discordant, and the gesture appeared merely aggressive, with an attitude that seemed anarchistic, almost like a form of punk nihilism. My perception began to change with “Nocturnes,” Weyer’s 2024 show at CANADA. I noticed the paintings began to slow down with masses of organic color shapes in works like Lucky, Sleepless and Monster.