ZOE WALSH
Moon is Always Fading, 2021
Signed, dated and titled on the verso
Acrylic on canvas-wrapped panel
30 x 20 in. (76.2 x 50.8 cm)
Total price : £4,300
10 NAACKETS
Moon is Always Fading, 2021
Signed, dated and titled on the verso
Acrylic on canvas-wrapped panel
30 x 20 in. (76.2 x 50.8 cm)
Total price : £4,300
10 NAACKETS
Moon is Always Fading, 2021
Signed, dated and titled on the verso
Acrylic on canvas-wrapped panel
30 x 20 in. (76.2 x 50.8 cm)
Total price : £4,300
10 NAACKETS
About Zoe
Planes of cyan, magenta and yellow float within an infinite white void, intersecting to create boldly-hued figures, architecture and spaces of pure abstraction. Two embracing figures repeat in different forms, hovering somewhere between reflection, shadow and the material. Zoe Walsh’s 2018 painting loop, pull, bleed, reveals no narrative. “It alludes to the painting process, camera movements and Photoshop layering effects,” Walsh explains. “I was thinking about the different forms of movement in each medium.”
“Pleasure is sacred to my work. It started with my interest in film spectatorship and a desire to create a space for a trans identification rooted in visual pleasure,” says Walsh of their interest in creating an aesthetic of trans-subjectivity untethered to the strictures of the gender binary. Taking cues from the ways in which Warhol used silk screen techniques to deconstruct glamour and celebrity, Walsh turns to highly constructed images of gender and sexuality, namely photographs of actors on the set of the 1984 gay porn Ramcharger. The erotic depictions of gay cowboys in the desert are processed through Sketchup and Photoshop, eventually appearing as genderless figures in the paintings. “These levels of transformation from the source material help me find ways to talk about a particular subjectivity that is about watching from a distance, imagining something that is not actually there.”
By removing the hyper-masculine signifiers of the photographs, Walsh reverses the societal mechanisms of gendering. While the genderless figures appear to exist outside of societal restraints, the images do not escape the specificity of their source material. There is no amount of reconfiguration that can fully erase the gender structures that serve as the architecture of the painting. “I want to talk about that space that is shifting and expanding, while also having some specificity based in queer source material. The works stop short at articulating a fixed subjectivity.”
— Text by Harrison Tenzer
Education
2016 - MFA in Painting and Printmaking, Yale University, New Haven, CT
2011 - BA in Art History & Visual Arts, Occidental College, Los Angeles, CA
Grants & Awards
2019 - Emerging Artist Grant Nominee, Rema Hort Mann Foundation
2016 - Harriet Hale Woolley Scholarship, Fondation des États-Unis, Paris, France
2015 - Al Held Foundation Affiliated Fellow, American Academy in Rome, Rome, Italy
2015 - LGBTQ Studies Graduate Student Workshop Grant, Yale University, New Haven, CT
Why we like it
Prominent gallery representation
Strong art fair presence
Sought after by high profile collectors
Museum and foundation presence
Young artist with exciting career ahead
Relevant subject representations
Queer/LGBTQ artist with strong recognition
What others are saying
What’s included
The value of the artwork (£3,350 incl. VAT)
Collection, crating, shipping & import duties (£600 incl. VAT)
Condition report and photography (£350 incl. VAT)
Insurance and storage (covered by NAAC)
