Cordero tried to manage her expectations, but he needn’t have: Lucy’s show at Lubov in January of 2020 sold out on opening day. Lubov’s founder, Francisco Correa Cordero, Cordero got in touch with Lucy in 2019, after seeing her work on social media, and the 43-year-old artist seized her chance: She loaded up a rented van with all the paintings she’d made over the past two years and drove 14 hours from her home in Nashville to the gallery, in Manhattan’s Chinatown. By 2011, she’d left New York, and returned to Tennessee to try to save herself. It was the kind of quick ascendency most artists in their 20s hope for - and one that came with a number of personal crises. Team was followed by three solo shows in three years, at Cynthia Broan and Kathleen Cullen.
Stapled finger full#
She started painting full time, became the nanny for gallerist Andrea Rosen’s and painter Sean Landers’s kids, and by the year 2000 was in a group show at the Team Gallery, alongside figures like Genesis P-Orridge and Banks Violette. She happened to take a class with Lisa Yuskavage. Shannon Cartier Lucy moved from Nashville to go to NYU in 1995, and had a lot of luck, early.
The artist is a cantor of the inner world her practice can be seen as a mirror of a dystopic society, whether intentional or accidental, reflecting a sociocultural landscape filled with hallucinatory and contradictory information. Cartier Lucy infuses her painting with uncanny and impossible situations that become a new normality in her work. A knife cutting through two peaches, a bird feeding its hatchling with a butterfly, a woman looking down despite the simplicity of the images, Cartier Lucy’s works hide a peculiar opacity. However, this is what makes them so unique. What appears familiar transforms to become the lead to another level of narrative, suggesting confusion of information. Consisting of seven new paintings created in 2021, the exhibition shares its aesthetic language with the seventeenth-century Baroque master painters of shadow and light. The exhibition “A stapled glass” premieres the first solo with Massimodecarlo Gallery and her first exhibition in Asia. Her works are both ordinary and absurd, comfortable and uncomfortable, ironic and disturbing. Her painted images initially imply cohesion before disconnecting the narrative from its source and developing their own contradictions.Īt first glance, Cartier Lucy’s subjects are familiar but bizarre by nature: a woman stretching her back, a girl with hands tied in a red rope, a finger pointing in a dark void, a stapled glass.
Her paintings are the prelude to endless narratives: representing incredibly little while suggesting so much. With a career of endless experimentation spanning over twenty years, Shannon Cartier Lucy is one of the most celebrated figurative painters working today.
0 kommentar(er)
