Images


Info

GRIMM is pleased to announce a solo presentation by Rosalind Nashashibi at our New York gallery space. This is the artist’s first solo exhibition with the gallery and her fourth solo exhibition in New York.

Rosalind Nashashibi is a London-based filmmaker and artist whose practice incorporates painting, printmaking, and photography. Starting in 2014, Nashashibi has expanded her painting practice, creating abstract and figurative works that combine lush colors with sumptuous organic forms. Her paintings incorporate motifs that are pulled from her everyday environment such as a wine glass or an illuminated taxi sign, which are then reworked in multiple variations. There is both a softness and an immediacy present in her works that comes from an intuitive, process-based exploration of the medium. Although Nashashibi’s paintings share certain qualities with German Expressionism, they are more reserved, enriched by their stillness and focus. The simple refinement of the artist’s paintings can be compared to her films in that they gently outline an internal visual language; giving the viewer space to think associatively rather than imposing an affected logical structure.

Nashashibi’s films capture different kinds of relationships through the minutiae of her subjects’ lives and the lived environment. The films are often non-linear, punctuated by manifestations of power dynamics and the subtext of individual and collective histories. In the downstairs gallery, Bachelor Machines Part 2 (2007) and The Prisoner (2008) are on display. In each of these films Nashashibi introduces deliberately constructed scenes into her filmmaking process. The intersection of real and staged footage produces a sense of possibility- an alternative reality in which the fantastical is mixed with plain, everyday occurrences.

Opening: March 8, 2019, 6-8pm


Works


Artists

Rosalind Nashashibi

Rosalind Nashashibi (1973 Croydon, UK) is a London-based artist working in film and painting. Her films convey inner experiences of moments and events, often considering the politics of relations in the community and the extended family; while merging everyday observations with fictional or mythological elements. Like her films, her paintings move between impressions and more concrete depiction of forms or figures, where figuration may be an imported element from another linguistic order.


Press