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Audrey AnastasiBrindle, disrupted realism, fashion, feminist, cool colors earth tones2018
2018
$900
£685.45
€790.08
CA$1,259.09
A$1,415.14
CHF 736.97
MX$17,211.58
NOK 9,430.39
SEK 8,942.79
DKK 5,896.63
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About the Item
Paper paint printed matter on sintra board
Audrey Anastasi states:
"These collages were created first in the presence of a live model, working quickly, in charcoal and pastel, and again, later, alone in the studio, furiously tearing and pasting images from magazines, various language newspapers, print publications, and previous drawings. In this way, both in theme and technique, I am working with the intersection of disciplined control and randomized instinct. Observational drawing coexists with a myriad of selected patterns, colors, and images from media, assembled and pasted down like broad swaths of paint. Fifteen works from this series premiered at Welancora Gallery in Brooklyn, NY on May 11, 2019 in a solo exhibition entitled, "EnSamblage", an invented word referring to both a musical ensemble of parts, and a visual assemblage of elements.
As a feminist artist, my first commitment is to painting other women, the human face, and figure. Whether working with figurative descriptions or with the abstract use of materials, I approach all my subjects directly and with abandon. Additionally, in my quest to discover and reveal what is most essential, the drawing aspect of these images is created with my non-dominant left hand."
Giancarlo T. Roma writes:
As a medium, collages are defined by the idea of fragmentation -- disparate elements pasted together to form a new whole. In her latest series, Collage, Audrey Anastasi uses this idea to convey the complexity of our inner lives -- that we are not one thing, even to ourselves.
Compositionally, each piece contains two fundamental elements -- a woman, drawn in charcoal, usually in the center of the frame, and bits of media pasted in front of, behind, and around each subject. The women assume a variety of poses -- some are vulnerable, shoulders open, glaring at the viewer; others are guarded, arms crossed, contorting their body to the side; many are lost in thought, staring off into some unknown distance, seemingly unaware of our gaze.
No matter their disposition, though, the women of Collage all appear deep in introspection, and we see them as if we are walking in on them in private moments. They are not just in their own heads, but in the closets, attics, and hiding places of their minds, alternatively focused and wistful in their contemplation.
The other media -- bits of writing, scraps from magazines, fragments of other paintings -- give us clues as to what might be giving them pause, or at least the shape it is taking. Indeed, the most recurring image of the series is that of a map, usually serving as the background to the subjects -- taken together, the images that populate their surroundings function as a kind of map of their inner life.
In “Red Birch,” birch trees -- a previous series of Anastasi’s and another theme that repeats in this one -- create a thicket in front of a woman’s pensive face, as other bits of filigree flicker on the other side, creating a sort of visual static. Toned in sepia like an old, old photograph, the work has the feeling of revisiting an old memory that’s been obfuscated by the passing of time.
Eyelids droopy with reverie, the woman at the center of “Cowgirl” leans her head down towards a hillside pine forest traversed by two horses, as if she’s listening to the sounds of her own projection, perhaps of where she’d rather be. We get the sense we are glimpsing into her own imagination -- a mind-made diorama.
Bright stars and neon galaxies swirl around a seated woman in “Celestial Night,” seeping into parts of her arm, head, and chest. But her body also displays a much more local map -- the New York City subway system, with its own colored lines traversing her body like veins. Space, quite literally, is collapsed in her being. She is here and everywhere at the same time. Aren’t we all.
- Creator:Audrey Anastasi (American)
- Creation Year:2018
- Dimensions:Height: 24.02 in (61 cm)Width: 12.01 in (30.5 cm)Depth: 0.24 in (6 mm)
- Medium:
- Period:
- Condition:
- Gallery Location:Brooklyn, NY
- Reference Number:1stDibs: LU133915701071
Audrey Anastasi
Audrey Frank Anastasi has had 20 solo & 200 group shows. Her "ref-u-gee" series will be shown in 2022 at Medgar Evers College in collaboration with the Valentine Museum of Art, Brooklyn. Accompanying the show will be a limited-edition monograph w/ over 180 images and a foreword by Phyllis Braff. Ms. Anastasi's collage series was exhibited at Welancora Gallery, Brooklyn, in May, 2019. In 2018, ten paintings were exhibited in "Painting to Survive," curated by Yale critic Jonathan Weinberg. Book and catalog publications include "Stations of the Cross", SPQR press, BREUCKELEN magazine, “Audrey Frank Anastasi”, catalog essay Cindy Nemser, and "Collage," essay by Giancarlo T. Roma. Public art includes a portrait of Jo Davidson at the Trailside Museum & Zoo, Bear Mountain State Park, NY, and the Stations of the Cross in the auditorium of Our Lady of Angels RC Church, Brooklyn. Her work is in Valentine Museum of Art, Brooklyn, NY, Munson Williams Proctor Art Institute, Utica, NY, Museum Pinacoteca do Estado de São Paulo, Brazil, Pfizer Corporation, NY, Avon Corporation, St. Vincent's Hospital Collection, NYC & MoMA Photography Archives.
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