[ad_1]
HETZLER MARFA is happy to announce Indoor Work, a solo exhibition of works by former Juxtapoz cowl artist Grace Weaver made throughout a residency in Marfa, Texas. The exhibition features a presentation of oil on canvas works in the primary gallery and Weaver’s largest works on paper to this point within the artist studio.
Presenting a brand new physique of labor, this exhibition sees Weaver’s iconic characters lounge in home environments. By bringing the figures into the non-public realm, the artist examines the spectrum of feelings that may come up when alone. Weaver’s bigger than life figures possess a way of ambiguity, their expressions unintelligible, evoking emotions spanning self-reflection to procrastination, rest to anxiousness. Marking a continuum within the artist’s observe, Weaver probes the habits, yearnings and intuitions of each day life. Whereas these moments are ostensibly mundane, and the home area usually neglected, Weaver’s work posit the worth of those fleeting, un-monumental occurrences, and the potential of a finite area as a stage for a wealthy gamut of feelings.
Noticed from an aerial perspective, quotidian objects of domesticity – telephones, Doritos, a laptop computer, Gatorade bottles and chargers, are scattered throughout the scene, morphing at instances into extensions of the characters’ exaggerated limbs. Making a swirling sense of area that the artist refers to as centrifugal, the Indoor Work map the stress of incorporating twenty first century ephemera – junk meals, quick style and expertise – into portray, a pressure which additionally performs throughout the palette. Bringing collectively bubble gum pink, soiled white, ochre and cornflower blue, the colors are practically naturalistic, however skew in the direction of the artificial, highlighting the artificiality of the work themselves while emphasising their development. Characters peer into laptops and cellphone screens, a recent mise en abyme.
In lots of the works, physique and object are superimposed over a gridded background, granting an architectural sense of construction in earthy crimson, acid yellow and chalky black. Alluding to Günther Förg’s and Edvard Munch’s painterly topographies, these formations seize the paraphernalia surrounding the determine, displaying the layered strategy of the painted floor. In different settings, the figures recline over brushy concrete gray backgrounds. Weaver coats the canvas in layers of oil paint, an additive course of whereby paint is utilized wet-into-wet. This utility exposes their course of, and the gesture of her painterly observe – marks and omissions stay, rendered by the gestural swoop of a brush, and in textural spikes of paint.
Toggling between cellphone, laptop computer, tv and guide, the characters, seemingly unencumbered by gravity, replicate the spiralling sense of distraction and absorption in a extremely splintered world, presenting a synchronicity between topic and execution.
[ad_2]
