The Demimondaine, 2017 Hand painted gouache onto Somerset satin white 410gsm, hand collaged digital print onto Somerset radiant white velvet 330gsm 44 x 51 cm Edition of 30 Each edition is unique and handmade by the artist
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Chisenhale Gallery presents a special limited edition artwork by Rosalind Nashashibi, the eighth in the gallery's Archive Editions series.
Working with artists who have participated in Chisenhale Gallery’s historic programme, ‘Archive Editions’ are new works, kindly donated by the artists to raise funds to realise the gallery’s artistic programme and support the next generation of pioneering artists. In 2011 the inaugural ‘Archive Edition’ was produced by Wolfgang Tillmans, followed by editions made by Rachel Whiteread in 2012, Hilary Lloyd in 2013 and Mark Leckey in 2014, Jordan Wolfson in 2015, and Camille Henrot in 2016.
Rosalind Nashashibi’s film Bachelor Machines Part 1 was presented at Chisenhale Gallery in 2007. In its singular exploration of life on board a cargo ship sailing from Southern Italy to Sweden via Portugal, England and Ireland, Nashashibi’s film presents a contemporary version of seafaring whose precedents lie in historical literature, painting and films. Her influences range from the novel Mason & Dixon by Thomas Pynchon – charting the story of two Englishmen travelling to America in the 17th Century to plot the state boundary line between Maryland and Pennsylvania – to Jean Vigo's luminous 1934 film, L'Atalante.
Working with film and painting, Nashashibi’s works are centred around everyday observations. Her films are often rhythmic and meditative, describing the qualities of experience. Nashashibi frequently presents her films alongside objects and paintings. Much like her films her paintings reference everyday encounters and her immediate environment.
For The Demimondaine, Rosalind Nashashibi has collaged together two elements, an abstract gouache hand painted by the artist, together with an inverted digital giclée print of a painting by her daughter Pauline. The original of Pauline’s image, a painted blue wave-like swirl, Nashashibi had kept on three different kitchen walls over the last five years. Through this use of layering she creates a pictorial depth within the work. Nashashibi’s hand painted burgundy element suggests a container or receptacle for Pauline’s image. The work is a tribute to the figure of the demimondaine, to that flagrant, public woman, who lives more by the night than day, pleasure seeking, decadent, glamorous and flawed. This work could be seen as a gift or an offering from mother to daughter, a defiant protective gesture.
Rosalind Nashashibi says of the work, It’s easier to respond to things once they have already existed for some time, Pauline’s blue painting is 5 years old, I’ve looked at it for a long time and it's left its mark on me. And perhaps this way of responding to her painting is another kind of conversation that we can have, more direct and yet respectful of each other’s space, I look for a way to bring her painting into my world without taking over or consuming what she has done.
This imagery of closeness between mother and daughter is a theme also explored in her film Vivian’s Garden (2017), recently presented at Documenta 14 and currently showing as part of the Turner Prize presentation for 2017. Mother and daughter, Elisabeth Wild and Vivian Suter, both artists whose work was also presented at Documenta 14, slowly reveal their life in Panajachel, Guatemala to the eye of the camera, unveiling a tender and emotive portrait.
Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).