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In her first solo exhibition in Brussels, Gordon exhibits a recent body of paintings, which are derived from photographs of the interior views of the studios of female artist friends.
Gordon’s chronicling of the spaces where women work belie an ongoing interest in displacing architectural elements within a painterly and installation practice, bringing the ghostly remnants of other spaces into an exhibition context.
In each work, the device of the window turns into a scape of a painterly zone, often made with imprints, spills and organic material. Windows-in-painting historically have been the portal to the flat-ness, non-illusion of painting, and in Portals, Gordon alludes to the use of the window in painting as a space for thinking about an unknown future through un-languaged painterly gesture.
Also included in the exhibition are a small number of alterations: a rubbing of a brick wall installed as a parapet point to the fiction of illusionistic space. A new piece of writing on the…
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Press Release
In her first solo exhibition in Brussels, Gordon exhibits a recent body of paintings, which are derived from photographs of the interior views of the studios of female artist friends.
Gordon’s chronicling of the spaces where women work belie an ongoing interest in displacing architectural elements within a painterly and installation practice, bringing the ghostly remnants of other spaces into an exhibition context.
In each work, the device of the window turns into a scape of a painterly zone, often made with imprints, spills and organic material. Windows-in-painting historically have been the portal to the flat-ness, non-illusion of painting, and in Portals, Gordon alludes to the use of the window in painting as a space for thinking about an unknown future through un-languaged painterly gesture.
Also included in the exhibition are a small number of alterations: a rubbing of a brick wall installed as a parapet point to the fiction of illusionistic space. A new piece of writing on the…
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More Exhibitions at BEIGE
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