re: The Mirrored Veil

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Allegory of Painting as Humpty Dumpty, 2009 Oil On Linen 9 X 12 In. (23 X 30 Cm) © Image courtesy of Priska C. Juschka Fine Art
re: The Mirrored Veil

547 West 27th St, 2nd fl
New York, NY 10001
February 11th, 2010 - March 27th, 2010
Opening: February 11th, 2010 6:00 PM - 9:00 PM

Tuesday through Saturday 11:00 to 6:00 PM or by appointment.

Jenna Gribbon
re: The Mirrored Veil
February 11 - March 27, 2010
Opening reception:
Thursday, February 11, 6 - 9 PM
Jenna Gribbon
Idyll vs. the World, 2010
Oil on linen
16 x 12 in. (41 x 30 cm)


Priska C. Juschka Fine Art is pleased to present re: The Mirrored Veil, Jenna Gribbon’s second solo exhibition at the gallery, a collection of meticulously and delicately constructed paintings—engaging the viewer in a revealing dichotomy between the Apollonian ideal and the Dionysian struggle, between the Imaginary and the Real. re: The Mirrored Veil illuminates the moment of the split between the reflected wholeness of the external body—as in Lacan’s Mirror Stage—and the real, internal, fragmented nature of the individual experience.
At first sight, Gribbon’s works startle with visual riddles—seemingly open and inconclusive narratives, interwoven with letters and symbols—propelling their audience into a world of phantasmagories and ambiguity. Their titles, Idyll vs. the World, Allegory of Painting as Humpty Dumpty, Still Life with Tome and Time, and Unicursal, point to a state of prosopagnosia, a cognitive disorder—leaving the individual in a mental state of peripheral, intuitive recognition.
As ‘veiling’ or ‘glossing over’ becomes an integral part of concealing the truth—Idyll vs. the World, portrays an idyll landscape draped by a painted black curtain on its right—it also refers to the duplicity of covering up while simultaneously unveiling what lies beneath or beyond. According to Saussure, whereas a sign is composed of the signifier and the signified, Gribbon’s foremost ‘symbolic’ use of the medium painting becomes more than an obvious representation (signifier) of an object’s primarily assumed meaning (signified)—applying a dyadic system in her practice and conjuring multiple levels of interpretation. Gribbon’s painting Unicursal depicts the back of a person with a long braid, suggesting a young woman, wearing a sweater inscribed with multiple patterns of straight edges meeting at four vertices. The real becomes that which resists representation—what is pre-mirror, pre-imaginary, pre-symbolic and cannot be symbolized, and, ultimately, loses its ‘reality’ once it is signified. Using symbols in visual language with application of paint, Gribbon leads us into a terrain of archetypal imagery, seductive cryptograms and a constantly revolving enigmatic world.
Jenna Gribbon was born in Knoxville, TN and currently lives and works in Brooklyn, NY. Her work has been the subject of several solo and group exhibitions in the U.S. and abroad, including shows at the Georgia Museum of Contemporary Art in Atlanta, GA; the National Academy Museum & School of Fine Arts in New York, NY; Kunsthalle Emden in Emden, Germany; the Finnish Academy of Fine Arts in Helsinki, Finland; and most recently, at the National Arts Club in New York, NY. She was also commissioned to paint three works for Sofia Coppola’s film, Marie Antoinette, which premiered at the New York Film Festival in 2006.