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Large brown painting installed next to smaller painting

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

Figure contemplating a blue painting

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

View of two paintings

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

Figure contemplating a painting

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

view of long gallery with three paintings installed

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

view of three large paintings

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

figure in front of two paintings

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

figure contemplating painting

Installation view, Firelei Báez, 48 Walker St, March 5 - April 25, 2020

Press Release

Press Release

James Cohan is pleased to present an exhibition of new paintings by Firelei Báez, on view from March 5 through July 2 at 48 Walker Street. This is the artist’s second solo exhibition with James Cohan.

 

To explore the exhibition in our Viewing Room, please click here. 

 

Firelei Báez casts diasporic histories into an imaginative realm, re-working visual references drawn from the past to explore new possibilities for the future. Often depicting strong, shape-shifting female protagonists, her paintings incorporate motifs sourced from regional mythologies and historical artifacts alongside cues from science fiction and fantasy, to envision identities as unfixed, and inherited stories as perpetually-evolving.

 

Her second exhibition at James Cohan features new paintings in which figuration, symbolic imagery, and calligraphic gesture are overlaid onto large-scale reproductions of historical maps and documents. Driven by the migrant experience of navigating and articulating spaces that are both familiar and physically distant, Báez's new body of work is grounded in archival research into individual and collective modes of organizing space: the ways in which built infrastructure—and conceptions of place and community—reflect and reinforce social relations conditioned by gender, race, and class. For more than a decade, Báez has painted directly onto found cartographic or printed materials to disrupt the boundaries they serve to delineate. Questioning notions of past and present, mark-making and painterly gesture become means of situating subjugated personal memory and experience in dialogue with narratives of the Western tradition. The works in her exhibition carry forward this long-standing interest while upscaling source materials onto large-format canvas to allow for intervention in human-proportion.

 

Maps courtesy of David Rumsey Map Collection, David Rumsey Map Center, Stanford Libraries.

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