Lisa Brice. Gertrude smoking, 2017 (artist’s portfolio).

Oil on paper: 42 x 29.7 cm.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Lisa Brice. Untitled, 2019 (artist’s portfolio).

Oil, synthetic tempera, ink and pastel on linen: 203 x 105 cm. Lisa Brice (2018): “I am drawn to the ambiguity that people and places can hold. Sometimes the compositions of my paintings feel like cinematic outtakes: the moments between directed actions, when the figures are ‘on their own time’, self-involved, performing only for themselves or one another. There are infinite possibilities embodied in these transitional states of being, which could also be a time of day, or adolescence, or gender, or rooms that feel like threshold spaces – thinly veiled interiors with glimpses of the exterior, grilles or indoor plants, typical in the tropics. These are all thrilling states – a kind of magical suspension”.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Lisa Brice. Smoke and Mirrors, 2020 (artist’s portfolio).

Ink, gesso, synthetic tempera, chalk, oil pastel, and oil on canvas: 200 x 329.9 cm(!). Lisa Brice (2018): “As a figurative painter it is significant that historical figuration seems invariably created by white men for an audience of predominantly white men. Sometimes the simple act of repainting an image of a woman previously painted by a man – re-authoring the work as by a woman – can be a potent shift in itself. Inserting props such as cigarettes or bottles of alcohol (as seen in Edouard Manet and Félix Vallotton’s paintings), or using strong colour to tweak the slant of eyes or mouth can further transform the figures from objectified to quietly self-possessed, matter-of-fact or provocative subjects”.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Lisa Brice. Parting at Dusk, 2018 (artist’s portfolio).

Gouache on drafting film: 129.5 x 50.8 cm.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Marlene Dumas. Genetic Homesickness ('Genetiese Heimwee'), 1984 (Van Abbemuseum, Eindhoven).

Oil on canvas: 130.4 x 110.6 cm. After having moved from South Africa to the Netherlands.

Visit > Van Abbemuseum, Eindhoven.
Visit > Marlene Dumas official.
Visit > Marlene Dumas at: Galerie Paul Andriesse, Zeno X Gallery, Frith Street Gallery, Gallery Koyanagi, David Zwirner.
More > Marlene Dumas at Wikipedia.

Lisa Brice. After Embah, 2018 (artist’s portfolio).

Synthetic tempera, gesso and ink on canvas: 244 x 205 cm. Lisa Brice (2018): “I grew up in South Africa during a particularly volatile time in the country’s history and that still informs what I am drawn to and identify with. Wherever I am in the world, I still perceive things through that lens, which is an inherently political one, even if not directly related to politics”.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Marlene Dumas. For Whom the Bell tolls, 2008 (Dallas Museum of Art).

Oil on canvas: 101 x 87.6 cm. Photo-referenced, copied from a promo/ movie still of Ingrid Bergman in tears. Taken from the 1943 war film by Sam Wood.

Visit > Dallas Museum of Art.
Visit > Marlene Dumas official.
Visit > Marlene Dumas at: Galerie Paul Andriesse, Zeno X Gallery, Frith Street Gallery, Gallery Koyanagi, David Zwirner.
More > Marlene Dumas at Wikipedia.

Lisa Brice. After Ophelia, 2018 (artist’s portfolio).

Synthetic tempera, ink, crayon and gesso on canvas: 244 x 120 cm.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
More > Lisa Brice at Wikipedia.

Marlene Dumas. The Painter, 1994 (Museum of Modern Art, New York).

Oil on canvas: 200.7 x 99.7 cm.

Visit > Museum of Modern Art, New York.
Visit > Marlene Dumas official.
Visit > Marlene Dumas at: Galerie Paul Andriesse, Zeno X Gallery, Frith Street Gallery, Gallery Koyanagi, David Zwirner.
More > Marlene Dumas at Wikipedia.