Gerri Davis

There is no easy irony in Gerri Davis’s paintings. Her work reflects a range of influence as diverse as the renaissance through contemporary popular culture, distorting or exaggerating forms with a rare technical skill. A combination of realism and conceptualism, the paintings transcend sourced materials and are enormously seductive in form and content.

Gerri Davis paintings balance a series of dichotomies — high art and popular culture; stylization and subjectivity; realism and fiction; discomforting imagery and visual pleasure while capturing the viewer’s imagination through dramatic brushwork, and richly modulated surfaces.

Bordel, a work of the spatial and symbolic language of Pablo Picasso’s Demoiselles D’ Avignon, also uses a limited color palette and a refreshing approach to form and ground where by Davis demonstrates a startling new sense of physiological tension and formal abstraction that reopens Picasso’s cubist motives for the first time since David Hockney.

Davis’s lithographs manifest the lush and richly textured qualities of the painted brushstroke while the delicate, refined contours of the masterfully drawn line comprise her etchings. Indeed, it is typical for Davis’s prints to emphasize — through form, process and brushwork — the hand of the artist at work. Her lithograph is part of a series of studies for a painting ‘dance: ropeswing’, it is quite painterly and finds the artist increasingly shifting between figuration and abstraction as she pays homage the painter Henri Matisse with an abundance of joy and gestural grace.

Davis’s etching series, reflections of what men have seen, mirrored in the river of what they have never been able to see, is a series of archetypical images used throughout history to describe the human condition.

Gerri Davis has work in private collections in New York and Miami, and was recently reviewed by art critic Charlie Finch on artnet.

The Bridge Gallery is proud to announce its fall group exhibition, Ship of Fools. Referencing Brant’s Ship of Fools, the image of an uncaptioned vessel full of passengers absorbed in vanity and frivolity, has long fascinated writers and artists.

Ship of Fools features six artists who are examining contemporary culture; dissecting mass-consumed imagery then reimagining and reinterpreting it with stylistic individuality. There is an element of quiet subversion that seeks to undermine traditional barriers.  Ship of Fools is a visual cacophony, reflective of an extraordinary group of talented artists who have their finger on the pulse and provide us with a peek of the current artistic zeitgeist.

Dissecting, amplifying, sampling and distorting, Michael Alan explores spaces that walk along the edge of figure and the abstract, questioning time, embracing change and living in the now.

Gerri Davis’s prints balance a series of dichotomies—high art and popular culture; stylization and subjectivity; realism and fiction—through dramatic brushwork and richly modulated surfaces.

Trained as an architect, Serban Ionescu’s fascination lies within the city, urban living, migration and the effects of the given moment on art.

Kika Kardai’s contribution is in essence a ghost: a residual imprint of what remains after she completes on of her rapid ink paintings.

With a background in theatrical design, Colin Kilian creates a unique vocabulary by distilling influences from his career into new forms and communicating from deeper states of awareness in his drawings.

Carlos Little combines unconventional found industrial materials into larger than life-sized sculptural works, questioning waste, demolition and construction in the ever-changing urban landscape.