The gallery is reopening Tuesday, 9 March, currently by appointment only. We look forward welcoming you 7 days a week 11 AM — 6 PM. The exhibition features large-scale oil and acrylic paintings on canvas as well as a series of works on paper and writings. Expressive compositions of cowboys and bears or domestic interiors and scenes from intimate relationships are paired with self-portraits navigating open or obstacle-filled Texan landscapes, altogether conveying a blend of unvarnished truth and psychological fantasy.
Representing familiar scenes and informed by selected facets of her own life, her works articulate a larger narrative on identity, femininity, and the complexities of power.
While purposeful and narrative, the imagery gives the viewer space to reflect on their own personal history and step into the shoes of the posed figures in order to process these archetypal embodiments of various identities. The visual idiom devised by the artist—who took up bodybuilding to steel herself for the physical strains of painting and motherhood—unlocks a dimension of the role of partner and mother that has been eclipsed by male fantasies of self-sacrificing maternal meekness: the strength and life-sustaining function of love and the work of caring that one body performs in the service of another in the family, under one roof, in one household.
It is a play with female desire that bears fantastic fruit yet is rooted in the body. The above is an excerpt from the essay Living with the Beast, contributed by Anna Gien for the exhibition catalogue, which will be available at the gallery in January For further information on the artist and the works or to request images, please contact Owen Clements, owen at dittrich-schlechtriem. Die Galerie wird am Dienstag, den 9. Der dargestellte Sex ist nicht pornografisch, im Gegenteil: Er verzichtet auf die Abbildung zugunsten der Leichtigkeit der Bewegung und einer Liebe zum Fleischwerden der Figuren in ihrem Miteinander.
The tale would later become world-famous under the title Goldilocks and the Three Bears, but by then one important detail had changed—the uncouth old woman had been transformed over the years into a girl with golden tresses who becomes fast friends with the bears and moves in with them. Born in Bratislava in , Katarina Janeckova Walshe grew up in the city, far from forests, wild beasts, and the raw quality that distinguishes life in the countryside from urban existence.
