Chloe Wise *Not That We Don’t @Almine-Rech-Gallery
written Tagen Donovan may 019
“Not That We Don’t” brings into focus the construction of self. Large rainbow-hued portraits with an unwavering painterly skill tower over office blue carpeting, charmingly installed throughout the entirety of the exhibition.
Human extremities dilute the Benneton- esque scenes, hands float around in gesturally symbolic movements.
Taking time to put a pause on the general structure of portraiture, which relies vehemently on reading emotion and social information via facial expressions. Wise capitalises on the importance of hand gestures, an increasingly forgotten sign of communication within the context of our online culture.
Familiarity also sets the foundation for each painting. Wise incorporates commodities of popular culture, mundane items that bare a sense of kitsch irony. Focus is centralised around; hand sanitizer, soap and tissues. Well-known store-bought brands colourfully brandish each canvas, communicating something deeper than just their standalone purpose. Perhaps Wise is exploring social commentary? With each subject of her paintings illustrating millennials, a generation persistently famed for over-sensitivity or lack thereof.
installation view Which Lake Do I Prefer, 2018 (c) Chloe Wise
Another vital prop Wise plays with throughout her practice is produce. Be it; corn, cheese, leafy goods, milk and other earthly ingredients. Combined with each subject, one can't help associate with the 18th Century Eurocentric Art movement. Johannes Vermeer's' prolific painting The Milkmaid (c. 1657– 1658) which famously champions an emphasis of abundance and celebration of harvest. Similarly, Wise exemplifies these core illustrative qualities throughout her work, with painterly finesse and attentive technical skill.
“Not That We Don’t” Chloe Wise 10th April - 18th May 2019 at Almine Rech Gallery, London
credits header The Tedious Matter of Personal Will, 2019 (c) Chloe Wise others as displayed
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