Peter Williams

Gillgan Himself, 2014

Oil on canvas

46 x 36 inches

Peter Williams

Gillgan's Island Bar, 2014

Oil on canvas with attached plastic petals

60 x 48 inches

Peter Williams

Shipwrecked, Gillgan's Island, 2014

Oil on canvas

60 x 132 inches

Nadia Ayari

Multiple, 2016

Oil on linen

38 1/4 x 35 inches

Nadia Ayari

Tight, 2016

Oil on linen

38 1/4 x 35 inches

Nadia Ayari

Safe Word, 2016

Oil on linen

38 1/4 x 35 inches

Ginny Casey

Droopy Vase, 2015

Oil on canvas

55 x 55 inches

Ginny Casey

Bathroon Reader, 2013-15

Oil on panel

24 x 24 inches

Ginny Casey

Peeping Jug, 2015

Oil on canvas

30 x 30 inches

Geoffrey Chadsey

tuck (keith), 2016

Watercolor pencil on mylar

85 x 42 inches

Geoffrey Chadsey

lopped (david), 2016

Watercolor pencil on mylar

85 x 42 inches

Geoffrey Chadsey

chimp, 2016

Watercolor pencil on mylar

85 x 42 inches

Sharon Madanes

Interwoven, 2015

Oil on found linen

30 x 28 inches

Sharon Madanes

On the Other Hand, 2016

Oil, acrylic, and chair caning on canvas

22 x 25 inches

Sharon Madanes

Cut Three Ways, 2015

Acrylic and oil on canvas

80 x 112 inches

Julie Ryan

Bread and Wine (St. John), 2016

Gouache and ink on canvas with ink and acrylic on ceramic

36 x 25 x 2 inches

Julie Ryan

Handy, 2016

Gouache and ink on canvas with ink and acrylic on ceramic

36 x 25 x 2 inches

Julie Ryan

Sylvester, 2016

Gouache and ink on canvas with ink and acrylic on ceramic

36 x 25 x 2 inches

Michael Stamm

Summer, 2015

Oil on canvas

48 x 36 inches

Michael Stamm

Winter, 2016

Oil on canvas

48 x 36 inches

Michael Stamm
Yet I Have a Feeling (Kitty), 2016
Acrylic and oil on linen, 34 x 50 inches

Press Release

Me, My, Mine: Commandign Subjectivity in Painting

Curated by Carrie Moyer

Nadia Ayari, Ginny Casey, Geoffrey Chadsey, Sharon Madanes, Julie Ryan, Michael Stamm, Peter Williams

Opening Reception: Thursday, June 16, 6-8pm

DC Moore Gallery is pleased to announce the opening of Me, My, Mine: Commanding Subjectivity in Painting curated by Carrie Moyer with works by Nadia Ayari, Ginny Casey, Geoffrey Chadsey, Sharon Madanes, Julie Ryan, Michael Stamm and Peter Williams.  Motivated by the enduring interest in figuration Me, My, Mine zeros in on the potential of commanding subjectivity in representational painting.  Through their work, these seven painters generously extend an invitation to experience the prickly anxieties, obsessive self scrutiny and extravagant fantasies that exist in the privacy of their own brains.

Lavish patterning, seductive surfaces and meticulous detail give an optical and tactile immediacy to the selected paintings while disorienting perspectives, subjects depicted from above or very, very close up, place us literally in the painters’ “shoes.”  Running interference between the physical world and the brain, hands and eyes are central subjects, the primary receivers of the data overload particular to our time.

Michael Stamm stamps his intimate domestic scenes with a unique, glossy, storybook mannerism.  In Yet I Have the Feeling… (2015), a black cat stares intently at her naked, headless human companion who speaks to her from outside the picture frame.  A recurring “familiar” in Stamm’s work, the cat represents the canny, silent loner who is able to intuit so much more than meets the eye.

Geoffrey Chadsey’s elegant, life-size “portraits” on vellum diagram our endlessly morphing identities.  A consummate draftsman and internet scavenger, Chadsey seamlessly hybridizes his figure drawings mapping the passage between our computer screens and our physical surroundings, moments when in our imagination we can be anyone or anything.

In lieu of Chadsey’s imagined selves Sharon Madanes, in her painting Cut Three Ways (2015), looks down upon a sliced and gutted body, from the vantage point of the physician. With facility and a decidedly gleeful flourish, Mandanes paints the corpses’ various limbs and oozing innards against a field of minty hospital green.

Gillgan, Peter Williams’ protagonist, is based on the lovable doofus of  “Gilligan’s Island,” a popular all-white television series from the 1960s. In Gillgan Himself (2014) our hero perches forlornly on the remains of a shipwreck, his face hidden by a large yellow mask slung backwards over his head.  The startling intensity of the mask’s vacant eyes and broad grimace clearly allude to the history of American minstrelsy and black caricature dating back to the 19th century.

With their dense, “woven” finish and strong oily aroma, Nadia Ayari’s small, “touchy” canvases are allegories for repressed feeling.  Ayari’s heavy deep-purple orbs attached to spoke thin branches pass diagonally through the frame as if on a conveyer belt. The perfect fruit in Multiple (2016) are gleaming gifts just waiting to explode at the next errant touch.

In Ginny Casey’s world ordinary objects possess a spectrum of human emotion, including suspicion, melancholy and doubt. From the picture plane of Peeping Jug, one of three soft Morandi-esque vessels peer at us, as if to question the very nature of painting itself — is it truly the artist who brings her subject to life? A deliciously deadpan humor and glowing palette animates everything in Casey’s purview.

Julie Ryan’s richly-patterned abstractions are inspired by the artist’s intense study of Wiener Werkstätte decoration. Like radiant screensavers, Ryan’s lightly painted surfaces expand and contract as if breathing. The hand-painted ceramic tiles that run along the vertical edges of the paintings bracket the flow of data like dream catchers for the age of information overload.

Carrie Moyer is a painter who writes about painting. Moyer’s latest essay, “Louise Isn’t Angry Anymore. She’s Painting,” is included in the exhibition catalog for Louise Fishman: A Retrospective, currently on view at the Neuberger Museum of Art through July 31, 2016. Her most recent solo exhibition at DC Moore Gallery was titled Sirens.

Me, My, Mine: Commanding Subjectivity in Painting will be on view through July 29th

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