Compressed is the big one for me. Bands of color typically push into a large black "x" shape from top and bottom. Thus contained, the compositions seem perfectly poised at the moment before something happens, a sensation that's heightened by subtleties in the color/surface of the paint. A rectangle of shiny in a field of matte, for instance, suggests barely perceptible internal shifts, while one forceful diagonal laid crosswise atop another suggests the possibility of much greater tectonic movement.
Against this perimeter compression, the hard-edge X pushes back, so the entire field is active with positive and negative space, push and pull. An X is always riveting--it's the nature of the shape--but while you're glued to your viewing spot, your eyes are constantly moving. That play of matte and gloss is especially activating, underscored by tiny chromatic variations in the black. So there you are in a visual tug of war with the floor, the wall, the physical presence of the painting and the space within it. That's quite a workout for such "minimal" work.
The corner straight ahead of you when you enter the gallery. Specifics below
Above: Radiant Rhythm, 2009, 24 x 24 inches; below: Weave, 2009, 16 x 26 inches, both oil on wood
. Brooklyn Rail interview of the artist by Ben La Rocco and Craig Olson
. Steven Alexander's insightful review of Voisine's show, here (I didn't realize he also talked about compression, but the work does evoke that sensation--and compatible minds arrived at the same conclusion)