Nathalie Karg Gallery

Nathlie Provosty

Nathlie Provosty (b. 1981 in Cincinnati, Ohio) studied painting and art history at Maryland Institute College of Art (BFA, 2004) and the University of Pennsylvania (MFA, 2007). The year between her education she lived in India as a Fullbright fellow. Provosty’s work has been exhibited at Nathalie Karg Gallery; A Palazzo Gallery in Brescia, Italy; Jablonka Maruani Mercier Gallery Project Space in Knokke, Belgium; Greene Exhibitions in Los Angeles, California; Stefan Lundgren Gallery in Mallorca, Spain; Berthold Pott in Cologne, Germany and others. Her paintings are included in the collections of the Baltimore Museum of Art, the Colby Museum of Art, the Farnsworth Museum, and the Portland Museum of Art. Provosty’s oeuvre explores paradox with particular attention to formal nuance. Known for highly sensual, abstract oil paintings that appear to be word forms, body fragments, or unidentifiable shapes, their ambiguities are grounded by an involved relationship to the materiality of paint and an investigation of color.

Nathalie Karg Exhibitions

Press

Fruit of the Forest, Federica Tattoli, Artist Interview with Nathlie Provosty, June 2017 The New York Times, Roberta Smith, The Lower East Side as Petri Dish, April 2016 Hyperallergic, Laila Pedro, Paintings that Sensually Shift in Tone and Texture, April 2016 Artcritical, David Cohen, Thank You For What Is Underneath, Nathlie Provosty, May 2016 Observer, Ryan Steadman, 7 New York Gallery Shows You’ll Flip For This Spring, March 2016 Artnet, Lauren Palmer, 20 Emerging Female Artists To Keep On Your Radar, December 2015 Modern Painters, 24 Artists To Watch, January 2015 Miami Rail, Alex Bacon, Nathlie Provosty's New Paintings, Fall 2013 Artforum, Chloé Rossetti, Nathlie Provosty, November 2012

Publications

Nathlie Provosty has recently gained critical acclaim for subtle, highly sensual, abstract oil paintings that oscillate in appearance between word forms, possible body fragments, and moving images. The artist’s frequent use of dark colors stems from an interest in the peripheral territories of visual perception. Taking this source one step further, she describes the paintings as emitting “inaudible sound”—sound that we can feel though not hear. Visible color occupies just a small region of the entire electromagnetic spectrum, within which simultaneous but invisible vibrations are always present. Similarly, only close attention to the paintings and the movement of light and space within and around them can render their noiseless sound palpable. The New York Times critic Roberta Smith has written that the artist “effectively complicates the perceptual mysteries of Ad Reinhardt’s Black Paintings with her own sense of scale, atmosphere and material punch. This is no mean feat.” 

Provosty’s first publication includes a revealing essay by the writer Jarrett Earnest and a substantial showcase of works dating from 2012–2016.

$50 USD