Following on from this, I ask what frames of reference-beyond painting-she draws upon for this focus on the body. It’s not just a dead material, it’s being activated by the people who use it and who look at it,” Grosse observes. “I think that every art work is completely transformed by being looked at. The immediate feedback of human interaction within these installations is key, as viewers navigate on their own terms. It was an experience that stayed with me long after I had returned home, as if I had made a trip not just to Venice but to the moon. Moving through it, I felt as if I had arrived at a scene of mystical destruction, where rainbow rubble clustered, and walls appeared to emit a saturated glow. This unfamiliar environment was fully evident at the 56th Venice Biennale in 2015, where she coated giant sheets and piles of dirt with her layers of paint-always in unmixed colours. For Grosse, “leaving the canvas was an activity of revolution”, and by scaling up she invites viewers to inhabit an alternative, uncanny world that subverts expectation and makes the ordinary appear alien. Walking into the exhibition in real life, the illusion and the reality are both evident, as if you’ve been let loose amidst a psychedelic stage set. It both emphasises and veils the surrounding architecture, and is suggestive from certain angles of the type of rolled Colorama paper favoured by photographic and video studios, where perspective expands within the frame to a seemingly infinite vista. In her show at Gagosian, Prototypes of Imagination, a draped, rainbow-painted cloth dominates the imposing central space, stretching across more than twenty metres. Acrylic on canvas, 240 x 161 cm Top: Portrait by Benjamin McMahon Then I realized, ‘Oh, the wall is also a part of it.’ I found out about it very early.” Above: Untitled, 2018. “I had one piece of paper, then I glued four together so I had a larger field, and I would put it on a wall. “I think I always had a very natural feeling that I could expand the image… even as a child I did,” she remembers, talking about the impulse behind her huge-scale works. Grosse creates complete environments in which viewers can lose themselves, where there is no defined beginning and end observation becomes immersion. Set against the bleak beach landscape, it erupted like an outsized raspberry ripple dessert, surreal, seductive and hyper-saturated. The previous year at Rockaway Beach, New York, she turned her attention to a hut destroyed by Hurricane Sandy-at the invitation of MoMA PS1-coating it in great swirls of pink, red and white. General admission provides you with one seat and all supplies.At the South London Gallery in 2017 she engulfed the Victorian architecture of the exhibition space in riotous colour, which popped defiantly against the stark white of carefully stencilled areas left untouched. Please arrive at start time so you can chill your wine and chill. You just bring your fun and your friends!Įvents last approximately two hours, at the end of which you get to take home your new masterpiece. We provide everything you will need for use at the event: canvas, paints, brushes, small snacks (chips, crackers, etc) and even a smock. We use non-toxic washable acrylic paint in primary colors and provide 16”x20” canvases at all of our events. At the end of the night, take home your own unique masterpiece-buzzed with free art! In just about two hours, while you’re painting and mingling, our artist will guide you through a painting step-by-step. Skinnamarinky dinky dink, skinnamarinky do, We love you! If you watched The Elephant Show back in the day, we love you! If you want to come in and paint THIS Elephant, we'll love you! We'll love you in the morning and in the afternoon, we'll love you in the evening and underneath the moon.
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