NEW YORK, NY.- Arts+Leisure
is thrilled to announce Mamita, an exhibition of recent works by artist Bernadette Despujols. The exhibition will run from March 27th - April 26th 2020.
In her first showing at the gallery, she presents a body of expressive, psychologically penetrating portraits and compositions inspired by her native Venezuela, underscored by a vigorous, intensely physical technique. Recalling the work of Lucian Freud and other members of the London School, the alternating passages of ridged, thick impasto paint and luminescent washes within Despujols heavily textured surfaces project their own narrative, charting the contours of flesh and human expression with an almost aggressive materiality. In contrast to the immediacy of her practice, her subjects are enigmatic, and their averted gazes complicate the viewers place; in Nude 1 and Nude 2, we are voyeurs, imposing upon the privacy of a sleeping woman, while in the face of Image of Home 5, we become powerless witnesses to a scene of brutality and torture.
Much of Despujols work focuses on the intersection of perceptions of women by themselves and society, as well as the changing nature of sex and intimacy in contemporary life. In her own words, she queries how a woman, by virtue of being a woman, makes others uncomfortable; in Mamita, she transforms female nudity into a sort of declaration of femininity and womanhood, underscored by her unabashed displays of genitalia and sexuality. In Nude 4, the locus shifts from the female presence to the palpably uncomfortable relationship of the anonymous male and female figures. Sharing a half-hearted embrace, the far older man leers at the female subject, whose face bears a mix of apathy and disgust; meanwhile, a tattoo of a dolphin on her lower belly lends cynical undertones, forcing the viewer to question the character of intimacy and sex, as well as the existence of one without the other and its transactional elements.
Mamita includes several paintings inspired by her native Venezuela, ranging from portraits of family and locals to images of political violence and repression. As in her nudes, the subjects of these paintings appear detached, oblivious to the artists gaze. They are primarily shown asleep or at rest, states of vulnerability that allow Despujols to catalyze her subtle balance of probing psychological observation and vivid, quasi-forensic examination of the physicality of the body.
Mamita also features a series of sculptures, the Inflatable Love Dolls, which at first glance appear to be contemporary truncated versions of Hellenistic torsos, but, in the artist's own words, "are a representation of the female body; both figurative and abstract, as it tries to reproduce the female figure, but remains true to its origins as an inflatable structure, standing as an object as her own right, but filled with concrete and no longer movable. Her torsos become symbols of impossible objectification, their pleasure inducing cavities having been filled."