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DC Moore Gallery at EXPO Chicago

DC Moore Gallery is pleased to present, for EXPO Chicago, works by Eric Aho, Theresa Daddezio, Carrie Moyer, Claire Sherman, and Barbara Takenaga - five artists who each create abstract paintings based upon elements within the natural world.

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Theresa Daddezio
Mother Orchid, 2020
Oil on linen mounted on panel
46 x 30.25 in

 

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Using the metaphor of a body as a container, Theresa Daddezio explores notions of consciousness, fragility, and sexuality within a language of painting and its history of abstraction. Through an embodied concept of time and place, she creates optical undulations of flatness, depth, vibrancy, and subtlety. The paintings share a compressed visual environment where shapes take near identifiable forms in a fleeting taxonomy of spatial and textural obfuscation that transforms marks into resemblances of flora, vessels, and earthen strata. These forms, evoking interior physiological spaces, areas of texture, and flattened color, heighten a disassociation of visual sensation. Commingling earthen tones contrast with synthetic palettes complicate a natural and artificial physicality. Focusing on these spatial and chromatic negations, Daddezio constructs an emergent and psychological site - manifestations of sensual experience - where the tangibility of the present entangles layers of memory.

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Theresa Daddezio

Moon Dive, 2019-2020

Oil on linen

50 x 35 inches

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Daddezio began this body of work after visiting the ruins of a Soviet bathhouse in Tskaltubo, Georgia in 2019. Once a famed site of rehabilitation in abundant natural springs, the structures now lay overgrown with plants, ponds, and detritus. The petal-shaped baths—resembling both mechanical gears and the daisy flower—remain eroded and remnants of the recessed human forms they once contained. Here, Daddezio contemplated the human impulse to build a reflection in nature, as well as the subsequent disappearance and eventual re-growth of forms in these constructed spaces.

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Eric Aho
Source, 2020

Oil on linen

90 x 80 in

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Eric Aho is an American painter known for his gestural, abstracted paintings that evoke natural forms. While Aho works from his impressions of the landscape, he also draws upon major pillars of art history—such as works by De Kooning and Goya—to define his compositions.

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Eric Aho
Tripping Field (1970), 2019

Oil on linen

60 x 50 in

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Aho sees this series of paintings as remembered glimpses of the landscape passed on a walk through the woods in search of something, toward some unknown destination.

He writes, “Sometimes I felt alone in the woods at the river’s edge, at other times I was in the company of Walt Whitman, Constance Gordon Cumming, or John McPhee. It was the image of the Kingfisher, following northern streams and rivers as described by 19th-century naturalist John Burroughs that planted the idea of an intentional seeking-searching-roaming in the paintings.”

seed release with text

Carrie Moyer

La Signora, 2020
Acrylic, graphite, glitter on canvas
78 x 60 inches

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Carrie Moyer’s sumptuous paintings on canvas explore and extend the legacy of American Abstraction while paying homage to many of its seminal female figures among them Helen Frankenthaler, Elizabeth Murray, and Georgia O’Keeffe. Rife with visual precedents, Moyer’s compositions reference Color Field, Pop Art, and 1970s Feminist art - while proposing a new approach to fusing history, research, and experimentation in painting. In addition, Moyer’s work, influenced by a background in design and queer activism, intricately weaves together concept, research, and lived experience with a range of stylistic and physical references. With their evocative, bodily forms, transparent veils of aqueous color, and flat surfaces, Moyer’s paintings forge distinct traces of 20th-century art — Surrealism, Color Field painting, Pop and 1970s Feminist art — into a contemporary vision uniquely her own. Building upon her previous work, these new paintings remain grounded in their abstract forms. As Moyer explains, “Abstraction is experiential for me; my work is a conduit for emotion.”

rosewater with text

Carrie Moyer
Rosewater and Brimstone, 2020

Acrylic, graphite, glitter on canvas

78 x 60 in

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One of the previous works, Rosewater and Brimstone, combines a collection of recurring forms, from the arch to the cartoonish clouds to the strange “figure” inspired by an alembic, a long-necked alchemical vessel used to distill liquids into vapors. Passages of patterning operate as a kind of domestic foil for the explosion of deep red paint, glitter, and ghostly matter.

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Claire Sherman
Wildflowers, 2020

Oil on canvas

30 x 26 in

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Claire Sherman’s work represents the natural world in a manner that makes her landscapes both recognizable and utterly imaginative, inviting yet daunting. Sherman both witnesses and explores extremes of climate change and the effects of invasive species crowding out native ones. There is a cycle of invasiveness, chaos, and growth, ever-present in the paintings, as seen by nature’s tangled, undulating forms that flow off the canvas, and the roaring waterfalls that come crashing towards the viewer. The idea of a new environmental order, beautiful yet ominous, has become central to Sherman’s body of work. In all of her work, sustained research, reading, travel, and photography inform the act of painting.

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Claire Sherman
Wildflowers and Grass, 2020

Oil on canvas

60 x 54 in

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“The dense, tangled, and undulating forms of spaces and plants in my recent body of work address some of these complicated new environments we are creating, full of both worry and hope...The subject of wildflowers, one of the first plants to return after a forest fire, feels urgent. Although they are intentionally very romantic, they are also simple, straightforward, and focused. They are concise and analytic, representing a single piece of ground. As is the case in much of my work, they ride a line between abstraction and representation, coming together as an image while falling apart at the same time.”

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Barbara Takenaga
Here, 2020

Acrylic on linen

42 x 36 in

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Barbara Takenaga arranges the simple components of her dense, abstract paintings into stunningly detailed compositions that undulate, radiate, and recede in seemingly infinite space. Her dazzling repetition of forms suggests the inherent yet sometimes incomprehensible logic of both the cosmic and the cellular, while spontaneous twists and puckers preserve the elements of wonder and surprise. Crisp, saturated color defines each discrete element in the tightly woven, tessellated work.

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Barbara Takenaga
Cat Feet, 2020

Acrylic on linen

18 x 24 in

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Each moment with Takenaga’s paintings will shape and re-shape the forms into something else, creating new beginnings with each glance. Starting with fluid pours of paint onto the canvas, Takenaga then creates undulating shapes with brushstrokes resembling dots, splashes, and sparks coming together and receding in outwardly infinite space. They can be understood as kaleidoscopic layers of outlines, horizons, and atmospheres, that coalesce as much as they diverge. As the artist explains, "I really wanted them to move more into abstraction, into more ambiguous space so they could be aerial views, or microscopic views, or traditional horizontal landscape."

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Eric Aho CV
Theresa Daddezio CV
Carrie Moyer CV
Claire Sherman CV
Barbara Takenaga CV

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Eric Aho

Source, 2019
Oil on linen
90 x 80 inches

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Eric Aho
Tripping Field (1970), 2019

Oil on linen

60 x 50 in

Inquire

Theresa Daddezio

Mother Orchid, 2020
Oil on linen
48 x 31 1/2 inches

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Theresa Daddezio

Moon Dive, 2019-2020

Oil on linen

50 x 35 inches

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Carrie Moyer

La Signora, 2020
Acrylic, graphite, glitter on canvas
78 x 60 inches

Inquire

Carrie Moyer
Rosewater and Brimstone, 2020

Acrylic, graphite, glitter on canvas

78 x 60 in

Inquire

Claire Sherman
Wildflowers and Grass, 2020

Oil on canvas

60 x 54 in

Inquire

Claire Sherman
Wildflowers, 2020

Oil on canvas

30 x 26 in

Inquire

Barbara Takenaga

Here, 2020
Acrylic on linen
42 x 36 inches

Inquire

Barbara Takenaga

Cat Feet, 2020
Acrylic on linen
18 x 24 inches

Inquire

Eric Aho

Source, 2019
Oil on linen
90 x 80 inches

Eric Aho
Tripping Field (1970), 2019

Oil on linen

60 x 50 in

Theresa Daddezio

Mother Orchid, 2020
Oil on linen
48 x 31 1/2 inches

Theresa Daddezio

Moon Dive, 2019-2020

Oil on linen

50 x 35 inches

Carrie Moyer

La Signora, 2020
Acrylic, graphite, glitter on canvas
78 x 60 inches

Carrie Moyer
Rosewater and Brimstone, 2020

Acrylic, graphite, glitter on canvas

78 x 60 in

Claire Sherman
Wildflowers and Grass, 2020

Oil on canvas

60 x 54 in

Claire Sherman
Wildflowers, 2020

Oil on canvas

30 x 26 in

Barbara Takenaga

Here, 2020
Acrylic on linen
42 x 36 inches

Barbara Takenaga

Cat Feet, 2020
Acrylic on linen
18 x 24 inches