GABRIELLE GRAESSLE

Gabrielle’s artistic process is however far from coincidental, rather it is an intricate and instinctive journey, fueled by a passion for large-scale artworks and her aversion to confined spaces. Her preference for working in open and expansive environments stems from her love for open spaces and her desire to immerse herself in her art. This personal connection to her surroundings has influenced her artistic choices, leading her to create larger-than-life paintings that exude energy and depth. On her canvases Graessle does as in her home, where all doors are carefully removed- overflowing from one canvas to another, her work is not bound by the limits of a canvas size, her love of open spaces comes into play.

The paintings are closely linked to what makes up the artist’s mesh of thoughts, recollections and interests. Sometimes mixed into each other, and of uncertain origin in some cases. Her organic and deeply personal approach, combined with her mastery of mediums and technique, elevates her work to a realm of bold expression. Inspiration can come from many sources for Graessle, from cars her dad’s friends might have owned, to fashion symbols and female figures or animals.

However, one of the main paintings of the exhibition and some of the personages surrounding it, has a clear reference and a direct wink to the 1952 Western High Noon, featuring cinema icons like Grace Kelly and Gary Cooper, a film she has a very personal relationship with as it was her father’s favorite movie. The film has a deeper layer of meaning than your average cowboy movie, it is that duel between men, the ‘good’ versus the ‘bad’ that has inspired Graessle in this body of work. The bad boys, the horses, always in a forward-facing posture, often with their face in the shadows, leaving enough space for the spectators’ own imagination about what that identity might be like. She emphasizes the significance of the initial idea and the subsequent evolution of a painting, highlighting the interplay between intention and spontaneity. Her method of working on multiple canvases simultaneously allows her to move seamlessly between different works, fostering a dynamic and fluid creative environment that fuels her artistic creation.

Gabrielle’s methods are directly related to her personality and style: spontaneous, dynamic, unorthodox, originating in her affinity for charcoal drawings she used to make in her younger years. She finds the honesty and directness of charcoal appealing, as it allows her to express herself without room for correction. This medium serves as a starting point for many of her paintings, with the drawings often inspiring and guiding her as she translates them onto a larger canvas. The incorporation of glitter, in particular, adds a dynamic and enchanting element to her work, enhancing the visual impact and contributing to the overall vibrancy of the compositions. Her mastery of these mediums enables her to achieve a harmonious fusion of color, form, and texture that captivates the viewer.

In preparation for her upcoming exhibition, Gabrielle has meticulously selected a collection of artworks that evoke a sense of intrigue and allure. The relationship with her own practice is characterized by an ever-evolving appreciation for different works at different stages of her artistic journey. While she does not discard any of her works, her process involves a discerning approach to selecting paintings for exhibition and public display. This selection process is informed by her evolving artistic vision and the ongoing dialogue between her past and present works.

Her careful selection of materials and subjects reflect her dedication to creating artworks that resonate with her audience. The exhibition promises to be an immersive experience, offering a glimpse into Gabrielle’s creative world. The presence of her own artwork throughout her living space serves as a constant source of inspiration and a testament to her unwavering commitment to her craft.

Her diligent approach, yet seemingly lighthearted, has culminated in a body of work that captivates and inspires, an apotheosis of her artistic process and the manifestation of her vision onto the canvas. For her, rather than talking about the paintings, the work should speak for itself in the encounter with the public, resonating with each individual’s set of associations and interpretations. A poem not to be killed by writing a poem about the poem.

What it can evoke in the viewer is back to ‘carambole’ ; a connection, a ‘coup de foudre’... an impact between two bodies, promising an encounter that will leave no room for indifference.