Victoria Gitman: Everything is Surface: Twenty Years of Painting
Fran莽ois Ghebaly is proud to announce Victoria Gitman, Everything is Surface: Twenty Years of Painting, opening in Los Angeles on April 2 and remaining on view through May 7, 2022.
The exhibition represents the most comprehensive survey of Victoria Gitman鈥檚 work to date, including 27 paintings and drawings spanning the years 2001 through 2022. The selection includes recent works from the artist鈥檚 studio as well as loans from private collections across the country.
Victoria Gitman鈥檚 deceptively diminutive oil paintings鈥攖ypically less than ten inches on any side鈥攄epict closely observed surfaces: dyed furs of vintage handbags, geometric tessellations of sequins or beads, glinting costume jewelry. Each painting is months in the making and a product of deep looking and careful craft, bestowing an auratic quality on these objects of kitsch. Sometimes cropped close and sometimes resting on monochromatic surfaces, they carry a sense of weight and tactility, luring the viewer into a close proximity where vision and touch begin to merge.
Writing in a guest essay for the exhibition, New York-based independent curator Debra Singer notes this striking fusion of the senses:
Our modes of looking decelerate as the brain grapples with mixed messages about textures commingling with temperatures, shadows with light. Her paintings direct our vision, even as they transform it, provoking a dramatic slowness of seeing that is a welcome refuge.
Gitman frequently engages the history of painting in her own sly, subtle ways. Despite demonstrating a mastery of figurative depiction, her choices of subject, composition, and color frequently evoke the history of twentieth century abstraction. Ellsworth Kelly, Barnett Newman, Mark Rothko鈥攖hese giants of non-objective painting become reanimated in the furs and sequins of Gitman鈥檚 handbags, an inversion of representation, scale, and machismo. Another series similarly addresses an earlier history of representation, this time in exquisite oil on board renderings of Jean Auguste Dominique Ingres鈥檚 graphite on paper drawings. These paintings cross wires between mediums, confounding the eye and exposing what Gitman calls 鈥渢he understructures of style.鈥�
The title of the exhibition, Everything is Surface, is a line from John Ashbery鈥檚 poem 鈥淪elf-Portrait in a Convex Mirror.鈥� The phrase reflects Gitman鈥檚 career-long exploration of surface, both as material reality and conceptual field. Her work blends a focus on the seductive surfaces of objects and an attention to the pictorial surface itself, the skin of the painting. In each work, Gitman aligns the represented surface and the picture plane, bringing to the foreground the tactile desire implicit in the experience of viewing paintings.
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Fran莽ois Ghebaly is proud to announce Victoria Gitman, Everything is Surface: Twenty Years of Painting, opening in Los Angeles on April 2 and remaining on view through May 7, 2022.
The exhibition represents the most comprehensive survey of Victoria Gitman鈥檚 work to date, including 27 paintings and drawings spanning the years 2001 through 2022. The selection includes recent works from the artist鈥檚 studio as well as loans from private collections across the country.
Victoria Gitman鈥檚 deceptively diminutive oil paintings鈥攖ypically less than ten inches on any side鈥攄epict closely observed surfaces: dyed furs of vintage handbags, geometric tessellations of sequins or beads, glinting costume jewelry. Each painting is months in the making and a product of deep looking and careful craft, bestowing an auratic quality on these objects of kitsch. Sometimes cropped close and sometimes resting on monochromatic surfaces, they carry a sense of weight and tactility, luring the viewer into a close proximity where vision and touch begin to merge.
Writing in a guest essay for the exhibition, New York-based independent curator Debra Singer notes this striking fusion of the senses:
Our modes of looking decelerate as the brain grapples with mixed messages about textures commingling with temperatures, shadows with light. Her paintings direct our vision, even as they transform it, provoking a dramatic slowness of seeing that is a welcome refuge.
Gitman frequently engages the history of painting in her own sly, subtle ways. Despite demonstrating a mastery of figurative depiction, her choices of subject, composition, and color frequently evoke the history of twentieth century abstraction. Ellsworth Kelly, Barnett Newman, Mark Rothko鈥攖hese giants of non-objective painting become reanimated in the furs and sequins of Gitman鈥檚 handbags, an inversion of representation, scale, and machismo. Another series similarly addresses an earlier history of representation, this time in exquisite oil on board renderings of Jean Auguste Dominique Ingres鈥檚 graphite on paper drawings. These paintings cross wires between mediums, confounding the eye and exposing what Gitman calls 鈥渢he understructures of style.鈥�
The title of the exhibition, Everything is Surface, is a line from John Ashbery鈥檚 poem 鈥淪elf-Portrait in a Convex Mirror.鈥� The phrase reflects Gitman鈥檚 career-long exploration of surface, both as material reality and conceptual field. Her work blends a focus on the seductive surfaces of objects and an attention to the pictorial surface itself, the skin of the painting. In each work, Gitman aligns the represented surface and the picture plane, bringing to the foreground the tactile desire implicit in the experience of viewing paintings.
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A series of precious objects rendered in oil paint requires your intimate proximity.
Rarely exceeding twelve inches on one side, Victoria Gitman鈥檚 oil-on-board paintings are astonishingly intricate.
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