Keltie Ferris details

There has been a lot of love lavished on the Keltie Ferris exhibition at Mitchell Innes + Nash, see my earlier post with an artist interview.  Here are some details of the work, their utter dissolution on close viewing helps explain the love.

Martha Schwendener wrote in her NY Times review

Ms. Ferris’s new paintings are aggressive and emphatic but also spectral and expansive. Early rumblings about this show on the Internet compared them with works by Albert Oehlen and others who make references to digital marks in their canvases. Yet Ms. Ferris remakes the digital in supremely analog form. What might read from afar (or in photographs) as pixels are, close up, thick rectangles of paint applied with a flat-ended brush. These marks distinctly recall the pointillism of Seurat and Signac, as well as the synthetic vision of Impressionism: When you step back from the canvas, the image snaps into focus.

Keltie Ferris, Cleopatra, 2015, Acrylic + Oil on canvas, 96 x 130"

Ferris, Cleopatra detail

Ferris, Cleopatra detail
Keltie Ferris, [P]y[X]i[S], 2015, Acrylic and oil on canvas, 30 by 30 in

Keltie Ferris detail[P]y[X]i[S]

Keltie Ferris detail [P]y[X]i[S]



    "I don't like how this looks like a purple squid in front of a building!"
    A funny video of Keltie Ferris's studio process. :)


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