NEW YORK, N.Y.- American artist Margaret Evangeline uses radically different yet complimentary media such as painting, video, and performance to make artworks that are as tactilely seductive as they are conceptually unsettling. In one signature body of work, the artist introduces bullet holes into otherwise pristine stainless steel surfaces, in an act of aesthetic contemplation that she describes as “the sensation of painting without the paint.” Evangeline’s subject matter comes from a wide range of sources: marginalized women, art history, American gun culture, the artist’s heritage, and her complex relationship to the various geographic sites of her unusual practice. Evangeline’s mirror-like surfaces, sometimes part of large-scale site-specific installations in natural environments, seem both fragile and aggressive. The artist’s primal battering of materials results in a surprisingly feminine voice attuned to simplicity at the service