Brice interrogates the misogynistic portrayal of women in historical painting by reinterpreting the representation of the nude through the eyes of a female artist.
Read MoreEchoing the compositions of Modernist masters, Brice reworks the politics of the male gaze, representing figures unconcerned by their nakedness and imbuing them with a renewed agency and sense of self-possession.
No Bare Back, After Embah (2017) features a woman sitting at the table, while a scantily-clad woman poses behind her. While the former invokes the male sitter in Édouard Manet's Plum Brandy (1877), the standing figure is lifted from a photograph of the Trinidadian rapper Nicki Minaj.
Evoking notions of liminality, Brice often places her figures within doorways or in a state of movement.
Meanwhile, Brice employs imagery such as mirrors, cigarette smoke, and awnings as a means to obscure the viewer's gaze, as seen in Between This and That (2017), Midday Drinking Den, after Embah I (2017), and Smoke and Mirrors (2021).
Traversing abstraction and figuration, Brice's depictions of the human figure are rendered primarily in cobalt indigo and cerulean.
Working primarily in oil and ink on canvas, Brice's chromatic canvases are built up of layered brush strokes, imbuing her interiors with a sense of energy and vividness. Repetition of motifs and figures appear throughout Brice's paintings, which she achieves through a variety of printing and tracing techniques.
No Bare Back, after Embah (2017) far exceeded its high estimate of $300,000 at Sotheby's The Now Evening Auction in November 2021. The painting sold for $2.6 million, 91 times her former auction record of $34,487.
