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Mary Weatherford

I’ve Seen Gray Whales Go By

September 13–October 15, 2018
West 24th Street, New York

Mary Weatherford, The Gate, 2018 Flashe and neon on linen, 112 × 103 inches (284.5 × 261.6 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, The Gate, 2018

Flashe and neon on linen, 112 × 103 inches (284.5 × 261.6 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Athena, 2018 Flashe and neon on linen, 117 × 104 inches (297.2 × 264.2 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Athena, 2018

Flashe and neon on linen, 117 × 104 inches (297.2 × 264.2 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, GLORIA, 2018 Flashe and neon on linen, 117 × 234 inches (297.2 × 594.4 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, GLORIA, 2018

Flashe and neon on linen, 117 × 234 inches (297.2 × 594.4 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Cock Robin, 2018 Flashe and neon on linen, 117 × 234 inches (297.2 × 594.4 cm)© Mary Weatherford. Photo: Fredrik Nilsen Studio

Mary Weatherford, Cock Robin, 2018

Flashe and neon on linen, 117 × 234 inches (297.2 × 594.4 cm)
© Mary Weatherford. Photo: Fredrik Nilsen Studio

About

Gagosian is pleased to present I’ve Seen Gray Whales Go By, new paintings by Mary Weatherford. This is her first solo exhibition with the gallery.

Weatherford makes large paintings comprising grounds of spontaneously sponged paint on heavy linen canvases surmounted by one or more carefully shaped and placed colored neon tubes. The canvas—prepared with white gesso mixed with marble dust, and worked on with Flashe paint, a highly pigmented but readily diluted emulsion—supports startlingly diverse applications of color. The surface of the paint ranges from matte and velvety to transparent and translucent. The canvas is at times densely filled, reading as a painterly continuum; at others, it shifts in color from edge to edge of the painting; and at yet others it contains clusters of marks set in relatively bare surroundings. And the color itself varies significantly: blurred blues, muted yellows, and carnival reds; mineral hues, evoking slate or steel; pinks suggestive of fruit or flesh; and many different blacks, recalling shiny feathers.

The neon tubes attached to these fields of color advance a unique practice that Weatherford began in 2012, inspired by illuminated signs along the streets of old Bakersfield, California. In her use of neon, she transformed what had previously been used for advertising—and had been appropriated as such by earlier artists—into a radically new form of pictorial drawing. Casting an industrial light onto the fields of color, the neon tubes read as hand-drawn lines across the surface, although they are sometimes so bright that they are blinding to look at, creating afterimages. Weatherford has used one or as many as five individual tubes, often bent away from the surface, and on occasion extending beyond the edges of the canvas. The cords for the neon fixtures make their own layer of drawing on top of the painting, and lead down to large magnetic transformers sitting like anchors on the floor.

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Press

Polskin Arts
Amy Wentz
amy.wentz@finnpartners.com
+1 212 715 1551

Gregory Gestner
gregory.gestner@finnpartners.com
+1 212 593 5815

Gagosian
pressny@gagosian.com
+1 212 744 2313

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