Lot 239 - Michelle Jezierski - Stretch
Lot 239 - Michelle Jezierski - Stretch
Lot 239 - Michelle Jezierski - Stretch

Lot 239 - Michelle Jezierski - Stretch

Watercolour and Acrylic Paint on Paper

A6 (15 x 10cm) Original Artwork

Signed on verso

ARTIST INFO

 

About 

 

Michelle Jezierski is a Berlin-born American artist, who studied at the Berlin University of the Arts with Tony Cragg from 2002 to 2005 and graduated in 2008 after a semester at the Cooper Union New York with Amy Sillman. Her works have been shown internationally and are in various private and public collections. 

 

Select Exhibitions/Awards 

 

Selected Solo Shows 
2020 “Slices”, mit Christine Liebich, Galerie Jahn, Landshut 
2019 “Tilt”, Kunst & Denker Contemporary, Düsseldorf  
2018 “Shifter”, 68 Projects, Berlin 
2017 “Crossfader”, Galerie Philine Cremer, Düsseldorf  
2014 “Midnight Window”, Feinberg Projects, Tel Aviv 
“Scheinkraft”, Galerie Hanfweihnacht, Frankfurt  
2012 “Interferences”, Galerie Lorenz, Frankfurt  
 
Selected Groupshows 
2021 “Grenzenlos”, Galerie Jahn, München 
2020 “A Matter of Touch”, Painting from Europe and the USA, Kunst-Projekthaus, Berlin 
2019 “Il est temps de s’enivrer”, Bamhaus, Luxembourg  
2017 “Salon der Gegenwart”, Hamburg  
2016 "Things to Come", Petach Tikva Museum of Art, Israel  
2015 “Saloon”, Galerie Sexauer, Berlin 
2013 “The Hiding Places Are (utterly) Empty”, Gallery Molly Krom, New York 
“Berlin Status 2”, Künstlerhaus Bethanien, Berlin 
2012 “I am a Berliner”, (group), Helena Rubenstein Pavillion, Tel Aviv Museum of Art, TLV  
 
Statement about AOAP Submitted Artwork   

 

How can a two-dimensional artwork evoke three-dimensional space? Berlin-based painter Michelle Jezierski has long grappled with this question in her practice. The artist approaches the canvas much as a sculptor would consider an object, considering its spatial orientation as well as space’s relationship to the viewer. Jezierski’s perennial starting points are natural landscapes—say, the movements and colors of sky or sea, along with their delineating horizon lines—but also the geometries of the built environment. In her abstract paintings, she places these elements into juxtaposition or concert, plumbing the oppositional limits of order and chaos, structure and fluidity, through (sometimes implied) line and exuberant color. 

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