Juxtapoz Magazine – Caroline Absher, Alyssa Klauer, Talia Levitt, and Maud Madsen are the “4 Artists”
Fredericks & Freiser is delighted to current 4 Artists showcasing Caroline Absher, Alyssa Klauer, Talia Levitt, and Maud Madsen.
Engaging the art historical trope of females as the greatest object of patriarchal desire, Caroline Absher rejects this nonconsensual objectification and as an alternative frames her women of all ages protagonists as serene, protecting beings who, though attending to their individual inner lives, project tenderness and electricity. The corporeal scale of the paintings gesture to a knowable house contained within which is belied by the artist’s saturated, electrical shade palette that indicates emotionally charged times of call, processing, and possibility. Summary patches of colour overlap with figures, mixing human being and area in just a comparable motion pattern the outcome is a surreal, passionate, but fathomable room that pricks familiarity and calmness at the moment within the viewer.
The psychological scapes of Alyssa Klauer distort the perceived boundary concerning desires and reality to take a look at a queered feeling of cosmic time and place via a assortment of significant and minimal cultural motifs. Set towards atmospheric, incandescent backdrops, indexes of femininity, like six-inch strappy heels and jewels, exist together with silhouettes of adolescently girlish figures, kitsch cultural symbols, and absolutely rendered physiognomies. Quite often the paints talk as light-weight itself—their pretty luminosity dazzles. Refracting and filtering the artist’s very own encounters as a result of her idiosyncratic painterly gestures and palette, the artist’s scenes toggle in between legible, seemingly aware times of real looking clarity and dreamlike, unconscious, specters of times past or future.
Talia Levitt makes faux-tromp l’oeil quilted spaces that serve as the track record towards which myriad objects gathered from the artist’s existence are positioned. The artist normally employs the technique of mise en abyme, referencing her personal artworks, art historical icons, and her relatives archives. Partaking the modernist logic of the grid, Levitt’s linear marks provide too as the stitches of her depicted textile weaves, just as they elide with the very grain of the stretched canvas by itself, resulting in a special meta-materials allusion. Transparent figures or facial particulars emerge from the patchwork of textiles and objects suggesting frequent humanity. A nearer glance at these product constellations reveals at at the time an earnest feminism and cheeky humor that mark her function.
Maud Madsen’s intrepid coming-of-age compositions are produced times of the artist’s ordeals that turn out to be legible by means of their individual amazing, at times nostalgic, logic. As if snapshots into a bildungsroman without the finished narrative arc, Madsen’s scenes depict youthful subjects enterprise different pursuits from dramatic vantage details. Her saturated shade tones encourage the psychological context of the scene whilst the angled factors of view allow for the artist to contort and seize the women’s bodies’ choreographies in all their fleshy, awkward, and sensual glory. Viewers have confined obtain to the youthful figures as their faces are concealed from optical access. Madsen refuses to idealize her subjects’ bodies: the authenticity of her figures, with their epidermal textures and corporeal accumulations, recommend the course of action of discovering and coming to conditions with those people bountiful insecurities of adolescence.