NATURE NATURE. Spring Forest, Enamel on panel. 72 x 60 inches. Courtesy of the artist and Miles McEnery Gallery, New York, NY

Size: px

Start display at page:

Download "NATURE NATURE. Spring Forest, Enamel on panel. 72 x 60 inches. Courtesy of the artist and Miles McEnery Gallery, New York, NY"

Kelly Baker
5 years ago
Views:

1 RESOURCE PACKET

2 Inka Essenhigh. Photo by Carlin Mayer. Inka Essenhigh s paintings are instantly recognizable. Though inspired by Surrealism, Romanticism, and early animation, her use of line, color and medium is contemporary. In the past Inka utilized free associations and automatic drawing to connect with some type of collective unconscious when painting. She never worried about content and hoped that it all had meaning in her subconscious. Working in enamels, her early works focused on the flatness of the medium, which lent a plastic quality to her work. This use of contemporary materials pushed her into the forefront of the painting world. ABOUT THE ARTIST In recent years Essenhigh has progressed from the flatness of her earlier enamel paintings towards an almost sculptural three-dimensionality. (Victoria Miro, 2017). She began using oil paint to produce works of art that captured the light and atmosphere of her narrative paintings. She has also moved beyond the sub-conscious use of automatic drawing. In her current body of work, she has established a connection to the world she lives in and produces works that influences how she wants to feel. Essenhigh s preparation involves a process of color mixing in her quest for a sensation. She sits with a blob of color until a feeling comes to her. It s not a feeling in the traditional sense, but more of an awareness of a higher meaning. She states, A painting s color is like light: everyone is affected by it; it has a physical effect on us. (Kelley, 2016). Like a dream, Essenhigh develops connections from the warehouse in her mind revealing an ambiguous story. That story can be hers or it can be ours. She creates narratives where the viewer is both the observer and the observed. The protagonists are energies separate from us, and yet, they also are us. Inka has always wanted to tell stories with her paintings. Her work is open to more than one interpretation and encourages the viewer to draw their own conclusions. The stories are not spelled out in her painting but must be uncovered by the viewer. This obscurity, pushes the viewer to re-consider the effects of distorted figuration and abstraction on our powers of recognition. (Maine, 2010). Inka Essenhigh received her Bachelor of Fine Arts degree in 1992 from Columbus College of Art & Design in Columbus, OH, and her Master of Fine Arts degree in 1994 from School of Visual Arts in New York, NY. She has exhibited in museums and galleries around the world includes a featured solo exhibition at the Miles McEnery Gallery, New York, NY and a recently completed mural for The Drawing Center, New York, NY. Essenhigh s work is included in the permanent collections of Albright- Knox Art Gallery, Buffalo, NY; Denver Art Museum, Denver, CO; Museum of Contemporary Art, North Miami, North Miami, FL; Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; Seattle Art Museum, Seattle, WA; Tate Modern, London, England; and the Whitney Museum of American Art, New York, NY. She is represented by Miles McEnery Gallery in New York, Kavi Gupta in Chicago, Baldwin Gallery in Aspen and Victoria Miro Gallery in London. Essenhigh lives and works in New York City.

NATURE One common thread in Inka Essenhigh s work is nature. It is rare that her work shows an interior. So often there are trees, the sky, water, and land.

3 NATURE One common thread in Inka Essenhigh s work is nature. It is rare that her work shows an interior. So often there are trees, the sky, water, and land. These are not just landscapes for the sake of capturing the beauty of a place. Instead her landscapes are the stage on which a story is told; where plants morph into the actors. It is up to the viewer to determine what the story line is. If I go into a forest, I see groupings of trees and I see gangs. I see them pushing at each other There are actually big dramas going on in nature. (Halm, 2017). NATURE In addition to the anthropomorphic plant life, there is almost always a connection to humanity in here work. Sometimes it s subtle, such as the small gold crown in Spring Forest (2016). Other times the connections are more overt, like the snowy figure in Snowflake (Pink) (2009). These are not places isolated from humankind, but are places that are inhabited and enjoyed by the creatures who live there, such as the small gold crown in Spring Forest (2016). Spring Forest, Enamel on panel. 72 x 60 inches.

NATURE Summer Landscape, 2013. Oil on paper. 84 x 51.5 inches, each panel. Late August, 2012.

Courtesy the artist and Victoria Miro, London / Venice Why do you think the ground is undulating in

In Earth and Sea, which figure is the earth and which is the sea? Why? How are they interacting?

4 NATURE Summer Landscape, Oil on paper. 84 x 51.5 inches, each panel. Late August, Oil on canvas. 72 x 64 x 1.5 inches. Courtesy the artist and Victoria Miro, London / Venice Why do you think the ground is undulating in Summer Landscape? What is the story that is happening in Late August? In Earth and Sea, which figure is the earth and which is the sea? Why? How are they interacting? Do you notice any colors that repeat in these works? How are those colors used? What might they signify? What can you tell about the way Essenhigh views the natural work from her art? Earth and Sea, Enamel on panel. 55 x 60 inches.

NATURE Snowflake (Pink), 2009. Oil on canvas. 64 x 72 inches.

The figures in Snowflake (Pink) and Aquarius are more distinct than the figures in Volcano and Living Forest.

Where do you think they lead? Which of these landscapes would you want to enter? Why?

How do the different materials affect each work of art? Volcano, 2012.

5 NATURE Snowflake (Pink), Oil on canvas. 64 x 72 inches. Courtesy of Baldwin Gallery, Aspen and the artist Aquarius, Oil on paper. 84 x 52 inches, each panel. The figures in Snowflake (Pink) and Aquarius are more distinct than the figures in Volcano and Living Forest. How does this affect the way you interpret the piece? Volcano and Living Forest both show paths. Where do you think they lead? Which of these landscapes would you want to enter? Why? These four works show Essenhigh s experimentation with media. How do the different materials affect each work of art? Volcano, Painted monotype printed from a steel matrix x 15.5 inches. Courtesy of the artist and Miles McEnery Gallery, New York, NY Living Forest, Aquatint and line etching with drypoint. 22 x inches. Courtesy of the artist and Miles McEnery Gallery, New York, NY

6 MYTHOLOGY Mythology is a theme that reoccurs in Inka Essenhigh s works. She doesn t subscribe to any one pantheon, though Greek gods and goddesses, fairies and sprites are frequently showcased. These works harken back to Victorian fairy paintings, popular at a time when people tried to escape through art. On the use of mythology in her art Essenhigh states, I wanted my work to have a connection to the world of the collective unconscious, the mysterious world of dreams and archetypes. I worked automatically, meaning whatever popped into my mind I made without judging the content. If something became like Pegasus I would hope that it had meaning in my subconscious. I was never worried about tradition; the point was to make something living and that meant something to me today. Now that I m older, I have experienced a connected to this world where myths come from and I base my paintings on those experiences. (Artdependance Magazine, 2014). MYTHOLOGY Diana, Oil on Canvas x inches. Courtesy the artist and Victoria Miro, London / Venice

Daphne and Apollo, 2013. Oil on canvas. 60 x 72 inches.

What informs your interpretation? Where is the fairy in Blue Fairy? What is the fairy doing in this work?

7 Daphne and Apollo, Oil on canvas. 60 x 72 inches. Private Collection MYTHOLOGY If you are not familiar with the myth of Daphne and Apollo what can you surmise from this painting? What informs your interpretation? Where is the fairy in Blue Fairy? What is the fairy doing in this work? What myths and/or fairy tales inspire you? How would you represent them in a work of art? What do the colors Essenhigh uses in this work remind you of? How do they relate to the subject matter? Blue Fairy, Oil on paper. 73 x 51 inches. Courtesy of Baldwin Gallery, Aspen and the artist

MYTHOLOGY Dance Party, 2016. Oil on paper.

78 x 80 inches. These figures show mythical figures in the forest.

If you were the artist, in what environment would you place these figures?

8 MYTHOLOGY Dance Party, Oil on paper. 38 x 43 inches Collection of Kevin Melville Jennings Fairy Procession, Oil and enamel on panel. 78 x 80 inches. These figures show mythical figures in the forest. Why do you think Essenhigh sets these scenes there? If you were the artist, in what environment would you place these figures? Do these scenes exist in our world, or another? Why? Do these works remind you of any specific myths or fairy tales? Dance Party and Fairy Procession have a very similar subject matter. What similarities do you see? What differences? Green Goddess I, Oil on canvas. 78 x 60 inches Private collection courtesy of Miles McEnery Gallery, New York, NY

9 PLACE Location influences Essenhigh s work. She splits her time between New York City and rural Maine. She draws from an astute awareness of her surroundings to compose a range of stunning work from funky and cartoony to elegant and haunting. The paintings inspired by her time in Maine can feel quiet, peaceful, dark, and moody. In contrast, her paintings inspired by New York City are alive with new construction, busy streets, and constant swirling motion. While these paintings are inspired by certain places, they are not intended to be an faithful depiction of that place. A painting inspired by a moment in Maine may be completed in New York. Inka reflects back on that moment, thinking about the colors she saw, or the emotions that place evoked. Thus she is keeping true to the intuitive rather than pictorial nature of her works. PLACE Power Plant, Enamel on panel x inches.

New Condos, 2016. Enamel on panel. 60 x 65 inches Monsters of Manhattan, 2016.

Each of these works are influenced by Essenhigh s time in New York City.

PLACE The prints Path to the Stage and Manhattanhenge take on a darker tone.

What do you think the artist means by the title Monsters of Manhattan?

10 New Condos, Enamel on panel. 60 x 65 inches Monsters of Manhattan, Oil and enamel on panel. 60 x 55 inches. Each of these works are influenced by Essenhigh s time in New York City. Knowing that, what can you tell about the artist s perception of city life? PLACE The prints Path to the Stage and Manhattanhenge take on a darker tone. Why do you think this is? What do you think the artist means by the title Monsters of Manhattan? Path to the Stage, Aquatint and line etching with drypoint x inches. Courtesy of the artist and Miles McEnery Gallery, New York, NY Mahattanhenge, Painted monotype printed from a steel matrix x inches.

Seaside Cemetery, 2016. Enamel on panel. 60 x 60 inches Forgotten Cemetery, 2016. Oil and enamel on panel.

PLACE How do these works compare with her paintings of New York City?

In Seaside Cemetery we see a group of figures going into a cemetery. What do you think they are doing?

11 Seaside Cemetery, Enamel on panel. 60 x 60 inches Forgotten Cemetery, Oil and enamel on panel. 24 x 24 inches What can you tell about Essenhigh s impression on Maine based on these works? PLACE How do these works compare with her paintings of New York City? Are there any common themes, colors, shapes in these paintings? In Seaside Cemetery we see a group of figures going into a cemetery. What do you think they are doing? What tells you that? Looking at Moon and Tide, what is the story being told in this painting? Moon and Tide, Oil on canvas. 70 x 76 inches Courtesy of the artist and Victoria Miro, London/Venice

12 LIFE LIFE As with many artists events in her life and the outside world find their way into Inka Essenhigh s work. In the early 2000 s her husband, painter Steve Mumford, was embedded in Iraq as a combat artist. At that point Essenhigh was still beginning her paintings through the process of automatic drawing. This brought on a period of darker, more foreboding paintings. I shifted somewhere around After things got super violent in the war, I decided I didn t want whatever. I wanted it to feel meaningful and beautiful. (Samet, 2017). This was a turning point in Essenhigh s work, a shift from trying to capture her subconscious to creating works with more intent. Another defining moment that appears in Essenhigh s paintings are the birth of her child. Works like The Frond (2012) and Little Pearl (2012) show a child being cradled protectively. It was also at this time that Essenhigh began to experiment more with printmaking. While pregnant it was easier for Essenhigh to work on a smaller scale. This gave her the opportunity to experiment with ideas and refine earlier work. For example there are clear similarities between Living Forest (2011) and Diana (2010). Forms from Deep Underground, Oil on linen. 54 x 64 inches. Courtesy of Baldwin Gallery, Aspen and the artist

The Frond, 2011. Oil on canvas. 30 x 36 x 1.5 inches.

nature, leaves, shells, etc. Why do you think that is? What is the artist trying to say by depicting them this way?

13 The Frond, Oil on canvas. 30 x 36 x 1.5 inches. Courtesy the artist and Victoria Miro, London / Venice Little Pearl, Painted monotype printed from a steel matrix x 15.5 inches. Courtesy of the artist and Miles McEnery Gallery, New York, NY The children in these works are surrounded by things from nature, leaves, shells, etc. Why do you think that is? What is the artist trying to say by depicting them this way? What might have been going on in the artist s life at the time these works were created? Looking at the color palette Essenhigh used for these works, what is the feeling or mood that is conveyed? LIFE Stars and Flowers (The Nursery), Oil on canvas. 62 x 52 inches. Collection of Richard Edwards, Aspen

Political Cartoon Painting, 2016. Enamel on panel. 60 x 60 inches. Grey Men, 2015. Enamel on aluminum.

Think about events happening in your own life. How would you depict them in a work of art?

What in the painting informs your answer? Who are the grey men in the painting Grey Men? What are they doing?

14 Political Cartoon Painting, Enamel on panel. 60 x 60 inches. Grey Men, Enamel on aluminum. 55 x 47 inches. What do you think influenced these works? What in the pieces informs your interpretation? Think about events happening in your own life. How would you depict them in a work of art? How do you think Essenhigh views politics based on Political Cartoon Painting? What in the painting informs your answer? Who are the grey men in the painting Grey Men? What are they doing? LIFE Imagine you are in the painting Velvet Chair? What does it feel like in there? Smell like? What do you hear? Velvet Chair, Painted monotype printed from a steel matrix. 18 x 16 inches.

15 REFERENCES 1. Becker, Noah ( January 15, 2010). Inka Essenhigh Plots the Undoing of the Figure. Art in America. Retrieved 21 June Halm, David (Spring, 2017). Inka Essenhigh. Visual Arts Journal. Retrieved 14 June Inka Essenhigh (PDF). Victoria Miro. Retrieved 8 June Inka Essenhigh Between Worlds (gallery guide May 27-October 9, 2016). Gordon Contemporary Artists Project Gallery. Retrieved 8 June (April 6, 2016) Inka Essenhigh s Paintings of Dreamlike Environments Link the Ethereal with the Everyday. Frist Center for Visual Arts. Retrieved 21 June INKA ESSENHIGH: A FINE LINE MAR 17 AUG 19, 2018 Renowned artist Inka Essenhigh presents a series of paintings and prints exploring her signature use and experimentation of line. COVER CREDIT: Inka Essenhigh. Fairy Procession, x 80 inches. Oil and enamel on panel. MOCA S EXHIBITIONS ARE SUPPORTED IN PART BY 6. Kelley, Megan (2016) Universal Tongues: Unfolding Mythos with Inka Essenhigh s Between Worlds Nashville Arts Magazine. Retrieved 8 June Larking, Matthew (March 22, 2012). Rich Tales of Inka Essenhigh. Japan Times. Retrieved 21 June Maidman, David (October 26, 2014). Single Work Appreciation Day: Aquarius, Inka Essenhigh. The Blog: Huffington Post. Retrieved 22 June Portsmouth Museum and Fine Arts Commission Richard & Caroline T. Gwathmey Memorial Trust IN-KIND SUPPORT FROM Chesapeake Fine Arts Commission Coastal Virginia Magazine WHRO 2200 PARKS AVENUE VIRGINIA BEACH, VA VirginiaMOCA.org

All works must be 9x12 inches and matted 12x16 inches pm

All works must be 9x12 inches and matted 12x16 inches pm At the Virginia Museum of Contemporary Art (MOCA) you can see an art exhibition called Turn the Page: The First Ten Year of Hi-Fructose. Many of the artists in the exhibition look at art from long ago.