Jennifer Guidi Is One of the West Coastã¢ââ¢s Rising Art Stars
About
Colors charge the states externally and internally. I interpret these colors into works every twenty-four hours. On an intuitive level, I am guided by the colors in nature.
—Jennifer Guidi
Light and color pervade every aspect of Jennifer Guidi's work. The Los Angeles artist's radiant, mandala-similar paintings are marked by tonal and chromatic shifts that operate in concert with richly textured surfaces. The consequence echoes natural phenomena and undergirds a powerful archetypal symbolism. Guidi mixes sand into her paints—she uses both oils and acrylics—to produce immersive abstract compositions that infringe from the pared-downward structures of Minimalism while evoking ancient theories of energy and perception.
Born in Redondo Beach, California, Guidi received a BFA from Boston Academy and an MFA from the Schoolhouse of the Art Institute of Chicago. On moving to Los Angeles, she was immediately struck by the metropolis's distinctive hazy lite and blocky 1950s architecture. Basing her early on paintings on her own photographs of local domestic interiors, she became increasingly interested in the colors and textures of her subjects' walls. Post-obit a 2012 visit to Morocco, she began to pursue a more abstract approach, drawing inspiration from the heavy stitching and irregular undersides of the state's handmade rugs. She made her kickoff abstract "dot paintings" that year, applying small dabs of white paint to black grounds.
Guidi began incorporating sand into her panels in 2013, using sticks plant on the beach in Hawaii as simple marker-making tools. She and then adult a system of underpainting in which she first applies a thick layer of sand to the surface of the canvas; while this is still moisture, she makes marks with a dowel in controlled and repetitive movements, oft adding sand and pigment along the edges of the divots. The result of this intensely physical process is a hypnotic swirl of saturated color that is at once contemporary and timeless, prompting consideration of the diverseness of cultural and corporeal meanings that take been assigned to shape and pattern.
Guidi also often explores visual manifestations of duality—lite and darkness, abstraction and figuration, science and mysticism—finding symmetry and residue in seeming opposition. This is apparent even when her work returns to representational elements, every bit it does in the twinned serpentine canvases ofTo Protect and Hold You Up (2019). (Such imagery has appeared in Guidi'southward work since 2013, when she produced a series of "ophidian stick" sculptures that reference the serpent as a symbol of rebirth and transformation, and sticks equally totems of strength, healing, and magic.)
These diverse interests recur throughout Guidi's oeuvre, suffused as it is with allusions to spirituality and the metaphysical, and drawing as it does on various practices originating in Eastern tradition. After watching Tibetan monks make a sand mandala, she moved from using horizon lines as the foundational element of her compositions to preferring a central focal betoken. She has as well alluded to chakras (a system of corporeal free energy centers with origins in early Hinduism) alongside Enlightenment color theory. Citing the influence of predecessors including Georgia O'Keeffe, Agnes Martin, and Hilma af Klint, Guidi makes piece of work that also resonates with images and methods far beyond the Western fine art-historical narrative.
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Photo: Brica Wilcox
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Exhibitions
From the Quarterly
Fairs, Events & Announcements
February 9–13, 2022, berth B115
Centro Citibanamex, Mexico City
www.zsonamaco.com
Gagosian is pleased to announce its return to Zona Maco México Arte Contemporáneo for the start time since 2018; significantly, this is also the gallery'south start in-person art fair of 2022. Gagosian is presenting a especially curated choice of dynamic paintings, sculptures, and works on paper by iconic figures long associated with the gallery, juxtaposed with works by key gimmicky artists. Many of the featured artists are being represented at Zona Maco for the offset time.
Rachel Whiteread, Untitled (November), 2020 (detail) © Rachel Whiteread. Photo: Prudence Cuming Associates Ltd.
October xiii–17, 2021, booth E3
Regent'southward Park, London
frieze.com
Gagosian is pleased to announce a solo presentation of new works by Jennifer Guidi at Frieze London 2021. TitledInfinite Waves, it brings together nine paintings and ix works on paper that take inspiration from nature and the essential office it has played during the pandemic.Infinite Waves volition be on view at the off-white, and a choice of the works will exist available online in the Frieze Viewing Room and on the Gagosian website.
Gagosian's booth at Frieze London 2021, featuring Jennifer Guidi: Infinite Waves. Artwork © Jennifer Guidi. Photo: Lucy Dawkins
May 21–23, 2021, booth 1dxxx
Hong Kong Convention and Exhibition Centre
www.artbasel.com
Gagosian is pleased to participate in Art Basel Hong Kong with a presentation of mod and contemporary painting and sculpture by gallery artists. New paintings byGeorg Baselitz,Alex Israel,Ed Ruscha, andSarah Sze are featured alongside exceptional works in a range of mediums byLouise Bonnet,Theaster Gates,Henry Moore,Nam June Paik, and others, uncovering formal and conceptual innovations and associations that span genres and artful approaches.
Georg Baselitz, Noch ein Orangenesser, 2020 © Georg Baselitz
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Museum Exhibitions
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Artists Inspired by Music
Interscope Reimagined
January 30–Feb 13, 2022
Los Angeles Canton Museum of Art
www.lacma.org
To marking the thirtieth anniversary of Interscope Records, the company invited artists to select albums and songs from Interscope'south groundbreaking catalogue and fostered exchanges between artists and musicians to generate resonant pairings. The exhibition, which includes more than than fifty works, brings an intergenerational group of visual artists into dialogue with iconic musicians from the last three decades, providing a fresh perspective on influential music for the present moment. Piece of work by John Currin, Jennifer Guidi, Damien Hirst, Titus Kaphar, Takashi Murakami, Richard Prince, and Ed Ruscha is included.
Jennifer Guidi, Seeking Hearts (Black MT, Pink Sand, Pinkish CS, Pinkish Ground), 2021 © Jennifer Guidi. Photograph: Brica Wilcox
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I Day at a Time
Manny Farber and Termite Fine art
October 14, 2018–March 11, 2019
Museum of Contemporary Art, Los Angeles
world wide web.moca.org
Inspired by American painter and film critic Manny Farber and his legendary hugger-mugger essay "White Elephant Art vs. Termite Art" (1962), One Day at a Fourth dimension: Manny Farber and Termite Art featured approximately xxx artists and more than than one hundred works of painting, sculpture, photography, pic, video, and sound dating from the 1950s to the present. Work by Jennifer Guidi and Jonas Woods was included.
Jennifer Guidi, Eclipse (Painted Mandala Mountain SF #1A, Black Sand, Blue, Xanthous, Purple, Red), 2017 © Jennifer Guidi
Airtight
Generations Part 1
Female Artists in Dialogue
February 22–June 30, 2018
Sammlung Goetz, Munich
www.sammlung-goetz.de
Sammlung Goetz celebrated its twenty-fifth anniversary in 2018 with a 3-function exhibition dedicated to creative creations by women. On display were nearly two hundred works by more than 40 artists in an intergenerational dialogue. Generations Function 1focused on the appropriation of ordinary materials and practices rooted in advertising and design. Work pastEllen Gallagher,Katharina Grosse, andJennifer Guidi was included.
Jennifer Guidi, Becoming the Mountain (Painted White Sand SF #1F, White and Yellowish), 2016 © Jennifer Guidi
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Jennifer Guidi
Visible Light/Luce Visibile
July 1–September 24, 2017
Museo d'Arte Contemporanea di Villa Croce, Genoa, Italy
world wide web.museidigenova.it
V isible Light/Luce Visibile, at Villa Croce, was the first solo museum exhibition by Jennifer Guidi. Painted in spectral tones evoking the colors of the rainbow, the new torso of work on view continued the artist's investigation of calorie-free, colour, and energy. To create these paintings, Guidi used a organization of underpainting in which she outset applied a thick layer of sand to the surface of the canvass; while this was nonetheless wet, she made marks with a dowel in controlled and repetitive movements, often adding sand and paint along the edges of the divots.
Installation view, Jennifer Guidi: Visible Lite/Luce Visibile, Museo d'Arte Contemporanea di Villa Croce, Genoa, Italia, July 1–September 24, 2017. Artwork © Jennifer Guidi
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Gagosian Store / Jennifer Guidi
Press
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Source: https://gagosian.com/artists/jennifer-guidi/
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