The act of weaving strands together has numerous reference points for the artist—including the braiding of friends’ hair, the notion of “women’s work,” umbilical cords and a Bottega Venetta ad for a purse of twined leather, which was the direct impetus for this composition. The twisting continues spreading over the figure’s bikini and headband. The Sony Discman that accompanies the figure subtly marks the age of the subject, artist and viewer. Malaska’s compositions frequently depict women who are unafraid of displaying their emotions, desires and potential.
Speaking of the artist's work, Ashley Stull Meyers says: "Aspiring to the legacies of artists Jay DeFeo and Carolee Schneemann, Malaska’s considerations of female bodies are produced as wholly other—as occupying a space that is of their own supposed imagination and development. The figures, casually revealed more than boldly exposed, generate a surface that dimensionally supports a plane of the unreal. Their bodies are containers for not merely a biological specificity, but a defiant autonomy and nonchalant insistence on their additional value. Their mental states—aspirations, desires and prideful confidences—are evidenced in the abundance of contemporary iconography Malaska expertly positions.”
② Represented by:
Elizabeth Malaska’s paintings depict the female body occupying spaces of their own imagination—a strategy that casually reveals, rather than boldly exposes, these figures. The artist’s work draws inspiration from Jay DeFeo and Carolee Schneemann in compositions that expertly employ contemporary iconography. Malaska’s subjects are unafraid to either dream or weep, and their bodies remain defiantly autonomous.
The act of weaving strands together has numerous reference points for the artist— including the braiding of friends’ hair, the notion of “women’s work,” umbilical cords and a Bottega Venetta ad for a purse of twined leather, which was the direct impetus for this composition.More
- This work is available until 3:00 PM, Jun 1, 2022.