ARTISTS
Gideon Rubin: The Sun Also Rises
RYAN LEE is pleased to announce The Sun Also Rises, the gallery鈥檚 first exhibition of work by the London-based painter. Rubin is known for painting faceless figures and ambiguous landscapes that are familiar yet fugitive. Using vintage and found photographs as the basis for his paintings, Rubin reimagines the context surrounding these memory fragments, drawing the viewer into recognizable scenes that refuse resolution and leave the narrative and its protagonists deliberately nebulous. Through the application and erasure of paint, Rubin says, 鈥渄etails are lost, but a new identity appears.鈥�
Rubin considers himself a portrait painter, but his paintings are less about an individual sitter than his perception of the world. He turns his attention to pops of strategically placed color and points of contact: 鈥淚 focus on the edges, where colors, shapes and tones touch each other,鈥� he says. In works such as Blue Jeans (2021) and White Shirt (2021) Rubin鈥檚 lone figures seem lost in moments of contemplation, but the absence of facial features obscures access to definitive meaning. Rubin confesses that he enjoys cultivating this deliberate incompleteness; the resulting images are painterly snapshots of moments in time that appear both commonplace and particular.
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RYAN LEE is pleased to announce The Sun Also Rises, the gallery鈥檚 first exhibition of work by the London-based painter. Rubin is known for painting faceless figures and ambiguous landscapes that are familiar yet fugitive. Using vintage and found photographs as the basis for his paintings, Rubin reimagines the context surrounding these memory fragments, drawing the viewer into recognizable scenes that refuse resolution and leave the narrative and its protagonists deliberately nebulous. Through the application and erasure of paint, Rubin says, 鈥渄etails are lost, but a new identity appears.鈥�
Rubin considers himself a portrait painter, but his paintings are less about an individual sitter than his perception of the world. He turns his attention to pops of strategically placed color and points of contact: 鈥淚 focus on the edges, where colors, shapes and tones touch each other,鈥� he says. In works such as Blue Jeans (2021) and White Shirt (2021) Rubin鈥檚 lone figures seem lost in moments of contemplation, but the absence of facial features obscures access to definitive meaning. Rubin confesses that he enjoys cultivating this deliberate incompleteness; the resulting images are painterly snapshots of moments in time that appear both commonplace and particular.
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