Susan Inglett Gallery is committed to data security and to protecting your privacy. The gallery is in full compliance with requirements as stipulated by the General Data Protection Regulations (GDPR). Should you wish to change, update or delete any of your details, please contact us.
Beverly Semmes, collages found pornographic imagery to protect and explore the autonomy of the model. Scaling her FRP's (Feminist Responsibility Project) up from their magazine-sized origins, the paintings dwarf the...
Beverly Semmes, collages found pornographic imagery to protect and explore the autonomy of the model. Scaling her FRP's (Feminist Responsibility Project) up from their magazine-sized origins, the paintings dwarf the viewer, adding new layers of power and presence to the compositions. Intimate studies of the female form that graced Penthouse's glossy pages become near-life-sized, forcing the viewer to reconcile their elevation from "low," pornographic beginnings to high-art.
In Eye on Blue (2024), Semmes’ longtime friend and muse Nikie stares out from this void, a maroon wash of color partially obscuring her identity. Round black sunglasses perch above eyes that meet the gaze of the viewer while a bisected brown eye conceals the lower half of her face, held precariously in place by two scraps of what appears to be Scotch tape. A jutting white shape of painterly origin covers Nikie’s decolletage, strategically placed to conceal her exposed breasts while cheekily taunting the viewer with a hint of flesh.