A vibrant gestural abstract painting by New York/Hawaii artist, Debra Drexler.  This large scale painting is infused with color and color and light.  Crimson reds and violet meets a white structural flow of color  with impasto brushstrokes,
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Debra Drexler
"Violet Eclipse" Large Scale Abstract Painting

2017

About

A vibrant gestural abstract painting by New York/Hawaii artist, Debra Drexler. This large scale painting is infused with color and color and light. Crimson reds and violet meets a white structural flow of color with impasto brushstrokes, intersected and overlaid with blue. Hot pink and nearly neon orange give a lush glow to the lower section of the canvas balanced by the more earthy feel of red yellow and a turquoise blue. Debra Drexler's paintings are informed both by participating in the contemporary resurgence of abstraction coming out of New York, and by living in the Post Colonial Pacific for close to three decades. In the 21st century, much of our experience is mediated through the screens of our devices. In contrast, the making and viewing of paintings remains a direct, engaging experience in Drexler's paintings. She aims to take us to a state of timelessness that is primal in its humanity, disconnecting us momentarily from the mediated “now” of our electronic devices, and connecting us to a “now” that gives us a glimpse of the infinite. As a colorist, Debra Drexler provokes unexpected color relationships and creates spatial contradictions that come from those interactions. Some of her color choices reference the post digital experience with its highly saturated synthetic color. The luminosity and saturation also mirror the unique quality of light and tropical color interactions in Hawai’i, where Drexler also lives. Her work is driven by an athletic painting process, where she works back and forth between the floor and the wall. Numerous layers, which contrast areas of depth and flatness, organic and synthetic color, matt and gloss surfaces, create complex spatial interactions. Often Drexler adds an unexpected element that deconstructs and flattens and suggests another reading of space and time. "Although the Internet makes all eras accessible at once, I believe contemporary painting must go beyond a mere repetition of historic styles. I strive to create something new, present, and honest in the painting. In a time in which everything seems to be happening at the same moment, forcing us to live in an increasingly distracted and connected present, my work aims to take us out of our distracted state and into a relationship with our animal and spiritual natures that is more grounded, focused, and aware. The fleshy materiality of the paint mirrors our fleshy body; the expansiveness of the painting, our expansiveness." - Debra Drexler Debra Drexler has had over thirty solo and over 100 group exhibitions in national and international venues. Recently, she has also worked with a number of galleries in New York, Brooklyn, and New Jersey, including The Dorado Project (solo, 2016), Van Der Plas Gallery (solo, 2018, 2017, and 2015; three person, 2014), Gallery Gary Giordano (two-person, 2017), and H.P. Garcia Gallery (solo, 2009, 2010)). Group exhibition venues include The Drawing Center, Exit Art, The Curator Gallery, Ground Floor Gallery, Denise Bibro, Sideshow Gallery, Stephan Stoyanov Gallery, Creon Gallery, and Art Finance Partners. She has a forthcoming three-person exhibition at Maui Arts and Cultural Center (2020). In 2017 she received strong reviews in Whitehot Magazine and Arte Fuse, and was featured on The Kalm Report. A recent review (Whitehot Magazine, 2017) described Drexler’s work as clearly referencing the long tradition of American abstraction and the established legacy of the New York School. The reviewer, Jonathan Goodman, however, described the work as a “new non-objectivity” that comes out of the current moment. He states that Drexler’s painting “quite accurately describes the spirit of abstract art today, in which painting is struggling to break free of the constraints of time.” Drexler’s installation, Gauguin’s Zombie, which traveled from the Honolulu Museum (2002) to Maui Arts and Culture Center (2003) to White Box-The Annex, New York (2005), continues to be cited in academic publications such as The Transatlantic Zombie: Slavery, Rebellion and Living Death (Rutgers University Press, 2015), and in Gauguin’s Challenge: New Perspectives After Postmodernism, (Bloomsbury, 2018). Debra Drexler is a Professor of Drawing and Painting at the University of Hawai’i.

Details

  • Artist
    Debra Drexler (American)
  • Creation Year
    2017
  • Medium
  • Dimensions
    H 84 in. x W 60 in.H 213.36 cm x W 152.4 cm
  • Gallery Location
    New York, NY
  • Reference Number
    LU6924773662
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5 / 5
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