Nathalie Karg Gallery is pleased to present Maintenance, a show of new work by Peter Barrickman. In this series of new paintings and drawings, Barrickman uses the Natural History Museum as a place from which to consider and reimagine mortality, show business and the job. Pictorial at heart, the paintings in the exhibition frame views of taxidermy, faux ruins and the staged environments that one…
The title of the exhibition is meant to evoke materiality, lightness and distance, qualities important to my practice. It is a phrase taken from “Exiled Grace,” one of the poems in the book Calligrammes (1913-1916) by Guillaume Apollinaire, written while he was a soldier serving in World War I. Each painting utilizes a poem from the book. Il Pleut…
Nathalie Karg Gallery is pleased to present The marks of a stranger, a show of new work by Jesse Mockrin. In her second exhibition with the gallery, she continues her deep dive into the mythos enveloping culture and consciousness. The ideas and impulses that play out in her work seem to unfold in that fraught space where culture meets cosmos—the fragile, all too…
Water Thief, Nathlie Provosty’s third solo exhibition with the gallery, features ten years of the artist’s works on paper. These pieces, almost entirely in water media, feel familiar while being completely awash in more novel reflections of form, color, and marking. The show’s title, Water Thief, comes from the translation of the Greek word “clepsydra,” an…
My Pupil is an Anvil, Nathlie Provosty’s second solo exhibition with the gallery, introduces the artist’s newest body of work: five large paintings and several smaller pieces. The title indicates a play on words and vision. A pupil is the dark circular opening in the iris of the eye that allows light in, but it is also a student. An anvil is an iron…
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…
