April 1, 2012 - Doug McClemont, ARTnews
"By painting abstract works that morph into blurred landscapes, Shawn Dulaney accomplishes a sort of magic trick. Her visually magnetic arrangements draw us in with palettes that first appear still and muted but gradually reveal movement and layered translucence."
April 27, 2003 - D. Dominick Lombardi, The New York Times
"The current show here, of paintings by Shawn Dulaney, was inspired by a recent trip to the Dingle Peninsula of Ireland. Stylistically, the paintings are a cross between the atmospherically intense seascape paintings of J.M.W. Turner, and the impulsive, intuitive abstractions of Cy Twombly. One distinct characteristic of Ms. Dulaney's work is the use of poetry; enigmatic words inscribed directly into the wet acrylic paint. A soupy, drippy, texture to the acrylic paint characterizes all these works. Ms. Dulaney must work at a fevered pitch, constantly repainting, reorganizing, bringing the essential elements of her natural surroundings to the fore to get these effects. The mixture of elements, the layered textures and the hazy intensity of the palette give a sense that the artist is taking everything in -- the time of day, her distractive thoughts, the feel of the air, the touch of the brush -- as she reaches her own realizations. Each painting, regardless of the commonalities, is very different. There is an uneasiness, even a bit of anxiety in works like ''Clean, Deep Water'' or ''Thin Places.'' Both are coastal views, where a rocky coast line defines an edge. ''Three Things'' is a marsh view, which is more restful, vast and calming. The exquisitely painted surfaces of all are a pleasure to see."
May 13, 2001 - William Zimmer, The New York Times
"The paintings of Shawn Dulaney might be compared with clouds, since a viewer can read almost anything into them. This doesn't mean, however, that they are not carefully composed; Ms. Dulaney is deliberately out for grandeur. But she is also out for intimacy.
"The kind of painting to which Ms. Dulaney's work is most closely related, at least superficially, is the Mark Rothko branch of Abstract Expressionism, in which a sense of deep space is sought. Since almost all abstract painting seems to be out of the spotlight now, if one goes by what's covered in the art magazines, it might seem that this is an artist who is skilled in an old idiom, not the most enviable position. But the 20 paintings she shows at Weber Fine Art here take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them."