Debra Drexler

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Alternative Use for Helicopters: Jewelry Box, 2006 Water Soluble Pencil And Crayon 30 X 22
Dissolution into Joy, 2009 Oil On Linen 8' X 6'
Light through Branches, 2009 Oil On Linen 60" X 48" © Debra Drexler
Transit of Venus, 2012 Oil On Canvas 72" X 96" © Debra Drexler
Piercing the Sky, 2012 Oil On Canvas 66" X 82" © Debra Drexler
Cool Blue, 2012 Oil On Canvas 96" X 60" © Debra Drexler
Violet Lift, 2013 Oil On Canvas 72" X 96" © Debra Drexler
Broken Green, 2010-13 Oil On Linen 72" X 84" © Debra Drexler
The Fall, 2010-2014 Oil On Linen 72" X 84" © Debra Drexler
Between Blue Poles, 2013 Oil On Canvas 48" X 60" © Debra Drexler
Green Stripe, 2013 Oil On Canvas 48" X 60" © Debra Drexler
Rope from the Ceiling , 2011-13 Oil On Canvas 96" X 72" © Debra Drexler
Squiggle, 2012 Oil On Canvas 48" X 60" © Debra Drexler
Pink LIne, 2013 Oil On Canvas 48" X 60" © Debra Drexler
Linear Motion, 2010-13 Oil On Linen 48" X 60" © Debra Drexler
Two Blue LInes, 2010-13 Oil On Linen 48" X 60" © Debra Drexler
Cadmium, 2010-13 Oil On Linen 72" X 96" © Debra Drexler
Whisper, 2013 Oil On Canvas 48" X 60" © Debra Drexler
Cadmium leap, 2010-13 Oil On Linen 78" X 96" © Debra Drexler
Speaking in Chemicals, 2014 Acrylic And Graphite On Paper 14" X 11"
Urban Sun, 2014 Oil On Canvas 96" X 72" © Debra Drexler
Cadmium Jump, 2010-13 Oil On Linen 72" X 96" © Debra Drexler
Dissolution into Joy, 2009 Oil On Linen 68" X 100" © Debra Drexler
Cool Blue, 2015 Oil On Canvas 72"X 96"
Blue S Curve, 2015 Acrylic And Oil On Canvas 48" X 60" © Debra Drexler
Quick Facts
St. Louis
Lives in
New York
Works in
Webster U, BA
Northwestern U
San Francisco Art Institute (SFAI)

Through her recent projects and exhibitions Debra Drexler has served as a bridge between Hawai’i and New York. Drexler maintains studios in both New York and Oahu, and her work is informed by her unique bi-coastal experience.  Staring into the Sun is Drexler’s solo show in Hawai’i explored these solar themes.  A previous body of work Gauguin’s Zombie debuted at The Honolulu Museum (formerly Honolulu Academy), and filled the Maui Arts and Cultural Center’s Schaefer International Gallery approximately a decade ago. Gauguin’s Zombie toured to New York as well with Drexler’s first NY solo exhibit at White Box’s Annex (2005). More solo exhibitions in New York followed as Drexler returned to her roots as an abstract painter, investigating making the invisible visible. Drexler’s Brooklyn studio is in the heart of a burgeoning process-driven painterly movement. Recent New York solo exhibits include: Pool Art Fair, Chelsea Hotel (2007), Blue Mountain Gallery (2008) and HP Garcia Gallery (2009 and 2010). In addition, Drexler has exhibited in group shows in New York including Denise Bibro Gallery (2008), Exit Art (2010-11), Art Finance Partners in the Fuller Building Curated by Robert Edelman (2011), Stephan Stoyanov Gallery (2012), Sideshow Gallery (2012-14) and Gallery Onetwentyeight (2013). Drexler received an MFA from SIUE and studied as an undergraduate at Webster University, San Francisco Art Institute, and Northwestern University. She is a Professor in Drawing and Painting at the University of Hawai'i.

Through rigorous contemplative practice I am creating a new paradigm in spatial practice, transforming the painting into an energetic vehicle for healing. These large-scale paintings will translate inner experience into outer form through a vigorous athletic painterly process that is self-reflexive. I am returning to my roots as an abstract painter. This shift resulted from research that I have done into the human energy field and meditation. In the 1980’s, I created a series of abstract solar paintings, as a metaphor for inner light.  Recently, I returned to theme with my solo exhibition “Staring into the Sun” at The Arts at Mark’s Garage, Honolulu in 2012. I wish to extend this research to that creates a shift in consciousness  for the viewer, through experimentation with materiality. In “Staring into the Sun” I layered up to 30 layers on 6’ x 8’ paintings.  In addition to the solar theme, my paintings I am interested in interruptions, which bend the concept of time and space. Working with abstract space in a manner that is reminiscent of the space of the Baroque I often add a disruptive element, which deconstructs and flattens and suggests another reading of space.  The goal of this work is to investigate the contemporary sublime, and what that means in the 21st Century.  In a world overloaded with sensation I wish to create a sanctuary for the viewer. 

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