Ania Hobson’s portraits of gals, captured in times of day-to-working day lifetime, stand probably in distinction to Barbara Kruger’s resounding knell of mortality. Nevertheless this dialogue, involving Hobson’s new overall body of function and the singular Kruger exhibited, reminds us that loss of life, like and panic exist experientially in day-to-day moments, not as abstract principles. Quotidian everyday living overpowers symbolism, as a result of the elevation of tranquil human actions and times. The do the job is staying proven alongside one another now at Morgan Presents in NYC.
Hobson’s function is concerned with the tension in between her subject’s internal everyday living and their existence in a populated house. In contrast, Kruger’s preoccupation continues to be famously with the circumstances of the environment that we inhabit, and how external influences this kind of as promoting and commerce, affect and even shape the reality of the personal. Hobson’s women can be recognized as a stand-in for Kruger’s viewer, unable to escape the social disorders of the globe close to them.
Formally, Hobson’s paintings relate to that of celebrated British artist Lucian Freud. Equally artists share a issue with the tactile mother nature of paint and the impasto left driving from the transferring brushstroke. In contrast to Freud, having said that, Hobson’s portraits do not meditate on the unvarnished or borderline grotesque features of flesh, relatively celebrating the individuality of just about every of her feminine topics through their self-expression.
This exhibition, as potentially any juxtaposition, is worried with moments of confrontation—occasionally overt, but for the most part implicit. The stress involving our specific, autonomous constitution, and our essentially social character: the consequences that our expressions have on the entire world all over us, and in switch on shaping other folks.