Gagosian is pleased to present the first-ever solo exhibition of Jenny Saville’s paintings in London.
Captivated by the endless aesthetic and formal possibilities of the materiality of the human body, Saville makes a highly sensuous and tactile impression of surface and mass in her monumental oil paintings. Subjects are imbued with a sculptural yet elusive dimensionality that verges on the abstract. In recent paintings, she renews her enduring figurative investigations by depicting bodies embracing and intertwined.
Several new works are inspired by the ancient Egyptian rubbish dump at Oxyrhynchus, one of the most important archeological sites ever discovered. Heaps of discarded documents and literature, incredibly preserved in the area’s dry climate, are now invaluable; fragments of ancient Greek texts such as Euclid’s Elements and the poems of Sappho are among the excavated papyri. Saville alludes to this history through a deep layering of paired subjects: faces, torsos, and limbs overlap with shadows and reflections, palimpsests of living bodies and ancestral apparitions. Silhouettes drawn in charcoal through the surfaces of oil paint underscore the motion of the central embracing figures, while evoking the timeless human process of sketching. These intermediate “studies” echo the shifting status of the unearthed papers—once discarded, now treasured.
Time is further compressed by Saville’s adaptation of various historical approaches to portraiture, including de Kooning’s fluid abstractions of the female figure, the almost combined couples of Picasso’s late paintings and Japanese shunga prints, and Titian’s placement of subjects within dramatic perspectival landscapes, exemplified by Nymph and Shepherd (c. 1570–75). Saville’s own figures merge ethereally with settings that have been loosely appropriated from photographs and evoke the backdrops of Renaissance paintings.
Paintings on paper distill this subtle figuration into focused portraits, some taking several years to complete. Study for Shadow Head (2007–14) reveals the tension between the subject’s features and piercing gaze and the reality of the painting itself as a surface of thick, gestural brushstrokes. In Generation (2012–14), multiple impressions of each figure are drawn and painted to create studies in simultaneity; the relationship between mother and child is conveyed in a series of dynamic poses that move beyond formal composition and iconographic order into the realm of metaphysics.
A fully illustrated catalogue with an essay by John Elderfield is forthcoming.
Sally Mann and Jenny Saville
The two artists discuss being drawn to difficult subjects, the effects of motherhood on their practice, embracing chance, and their shared adoration of Cy Twombly.
Visions of the Self: Jenny Saville on Rembrandt
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Gagosian Quarterly Spring 2019
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
Jenny Saville: Ancestors
In this video, Jenny Saville speaks about Ancestors and her new works currently on view at Gagosian, West 21st Street, New York.
Jenny Saville and Dr. Simon Groom
Jenny Saville discusses the beginnings and evolutions of her painting practice with Dr. Simon Groom, Director of the Scottish National Gallery of Modern Art, Edinburgh. She speaks candidly on her endless passion for painting the figure, the beauty of struggle, motherhood, and the artists that have inspired her.
Jenny Saville on Willem de Kooning
In 2013, the exhibition Willem de Kooning: Ten Paintings, 1983–1985 explored the legendary artist’s late work. For the catalogue accompanying the presentation, Jenny Saville spoke on the gestures and elemental elegance of these paintings.
Extended through July 23, 2018
May 3–July 23, 2018
West 21st Street, New York
Extended through July 9, 2016
April 14–July 9, 2016
Davies Street, London
September 15–October 22, 2011
980 Madison Avenue, New York
April 15–May 15, 2010
Davies Street, London