Solo en Inglès
Laura Owens, Untitled, 1995. Acrylic, oil, enamel, ink, and felt-tip pen on canvas, 72 ¼ x 84 ¼ in. (183.5 x 214 cm). Collection of the artist. Courtesy the artist / Gavin Brown’s Enterprise, New York and Rome; Sadie Coles HQ, London; and Galerie Gisela Capitain, Cologne. © Laura Owens
Narrator: Spatially, this large painting is dominated by a slanting floor.
Scott Rothkopf: It's hard to know where you are in the room. Are you lying on the floor? Are you a little child? Are you an ant? Are you in a sci-fi movie? I think that the fact that she's forcing this sense of distance from the back wall and really engaging with the idea of how a painting invents a space, how that space connects to the space that we're standing in, is one of the big questions that appears throughout her work.
Narrator: On the back wall of the room, there’s a salon-style installation of paintings.
Scott Rothkopf: She would have people who came by her studio actually collaborate and draw and paint some of the images that you see here. A few of them she made, some her friends and family did. If you look in the right corner, you see a kind of black image with pink, white, and brown. That painting, which she sometimes jokingly calls a “Neapolitan” after the ice cream sandwich, which maybe looks to be melting, is in fact hanging nearby on the wall.
And so you get this sense of her creating dialogues between paintings. That a painting is not just a discrete window onto another world, but has a life in a place, and a life in relation to the paintings around it and to all of us.