Ania Hobson’s portraits of females, captured in times of working day-to-day existence, stand possibly in distinction to Barbara Kruger’s resounding knell of mortality. Nevertheless this dialogue, involving Hobson’s new body of work and the singular Kruger exhibited, reminds us that loss of life, really like and anxiety exist experientially in every day times, not as summary concepts. Quotidian lifetime overpowers symbolism, by the elevation of peaceful human steps and times. The do the job is becoming proven together now at Morgan Presents in NYC.
Hobson’s function is involved with the rigidity in between her subject’s inner life and their existence in a populated room. In contrast, Kruger’s preoccupation remains famously with the instances of the world that we inhabit, and how external influences these kinds of as advertising and marketing and commerce, impact and even shape the truth of the individual. Hobson’s women of all ages can be understood as a stand-in for Kruger’s viewer, unable to escape the social disorders of the earth all over them.
Formally, Hobson’s paintings relate to that of celebrated British artist Lucian Freud. Equally artists share a problem with the tactile character of paint and the impasto still left at the rear of from the going brushstroke. In contrast to Freud, even so, Hobson’s portraits do not meditate on the unvarnished or borderline grotesque elements of flesh, instead celebrating the individuality of each individual of her feminine topics by means of their self-expression.
This exhibition, as potentially any juxtaposition, is concerned with moments of confrontation—occasionally overt, but for the most component implicit. The tension concerning our person, autonomous constitution, and our always social character: the consequences that our expressions have on the environment around us, and in flip on shaping many others.
