JASMINE GREGORY

Working with imagery drawn from luxury advertising, wealth management, and pop-cultural spectacle, Gregory stages visually seductive yet structurally unstable tableaux that expose the fragile contracts underpinning property, prestige, and desire.

Early life and background

Born in Washington, D.C. in 1987, Jasmine Gregory studied at the School of Visual Arts in New York, where she completed a BFA before undertaking an MFA at Zürcher Hochschule der Künste in Zurich. After relocating to Switzerland, Gregory established her practice in Zurich, where she continues to live and work while exhibiting internationally. Her position as an American artist embedded in the European institutional landscape informs her sustained attention to how race, class, and cultural capital shape access to and movement through contemporary art spaces.

Jasmine Gregory artworks

Jasmine Gregory’s artworks span painting, sculpture, and installation, often combining precisely rendered oil paintings with sculptural assemblages and unconventional display formats to treat painting as a spatial and social practice. Across her work, Gregory draws on realities of racial capitalism, baroque still life, portraiture, reality television, and commercial photography to test how images accrue value and how viewers are positioned within systems of aspiration and exclusion.

Systems of value and rupture

In early bodies of work, Gregory repainted luxury advertisements and wealth-management imagery, translating glossy campaigns for watches and financial services into hand-rendered canvases that make visible the fantasies of inheritance, legacy, and stability on which such images rely. Works associated with her DIVORCE series amplify this critique by placing the word DIVORCE in branding-like typography over agitated, textured grounds, generating a tension between the polished authority of corporate language and the emotional and material instability it conceals. Gregory further unsettles painting’s commodity status by installing canvases in precarious “house of cards” formations or sprawling sculptural arrangements, foregrounding the fragility and interdependence of value systems in both art and finance.

Painting as installation and image economies

In exhibitions such as Who Wants to Die for Glamour at MoMA PS1, Gregory manoeuvres tightly rendered paintings into large-scale, site-specific installations that weave canvases together with everyday objects, including wine bottles, tinsel, wire hangers, and studio debris. These expanded tableaux treat painting as an environment in which fragmented images from advertising, reality TV, and art history collide, mirroring the hyper-saturated visual field in which cultural and financial value now circulate. Her compositions move between academic and deliberately “amateur” styles—highly stylised and playful, dark and comedic—to challenge what kinds of painting, and what kinds of subjectivity, are legitimised within institutional and commercial contexts.

Jasmine Gregory exhibitions

Gregory has been the subject of solo and group exhibitions at museums and galleries in Europe and the United States, reflecting growing institutional attention to her work.

Select solo exhibitions

• Who Wants to Die for Glamour, MoMA PS1, New York
• If I can’t have it, no one can, CAPC musée d’art contemporain de Bordeaux, Bordeaux, 2023–2024
• Believe in ur Dreams, Martina Simeti, Milan, 2023
• A Little Newer, A Little Better, A Little Sooner Than Is Necessary, Sophie Tappeiner, Vienna, 2023
• Heirlooms, King’s Leap, New York, 2022
• Mommie Dearest: A Sword That Cuts Both Ways, Karma International, Zurich, 2022k
• Mommie dearest, Istituto Svizzero, Milan, 2022

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Ocula | 2026