Deborah Anzinger, Coy (Detail), 2018

Deborah Anzinger, Eye, 2018, Acrylic, Aloe Barbadensis and ceramic, 30 x 28 x 20 inches

Deborah Anzinger, I Told You, 2016, Acrylic and mirrored glass on canvas, 72 x 54 inches

Deborah Anzinger, Resonant, 2017, Painted ceramic, 20 x 14 x 3 inches

Deborah Anzinger, An Unlikely Birth, 2018, Acrylic, mirror, synthetic hair and on canvas and polystyrene 80 x 131 inches

Deborah Anzinger, Garden, 2018, Acrylic and synthetic hair on canvas, 81 x 59 inches

Deborah Anzinger, Fiction as a Vessel for Reality, 2016, Acrylic, Aloe Barbadensis and ceramic, 12 x 12 x 4 inches

Deborah Anzinger, Coy, 2016, Acrylic, styrofoam, Aloe Barbadensis, and mirror on canvas, 72 x 54 inches

Deborah Anzinger, Before you realized you could be seen, I watched you soaked in the shade while I was conceiving, 2018, Acrylic, mirror and synthetic hair on canvas, 72 x 54 inches

Deborah Anzinger

Erosion

October 19 – November 25, 2018

Sargent’s Daughters is pleased to present Erosion, the debut New York solo show of Jamaican artist Deborah

Anzinger.

 

Anzinger confronts a wide range of subjects through an equally wide range of media, employing living plants,

hair, mirrors and styrofoam. The materials are central to Anzinger’s practice, and carry dichotic messages: aloe

barbadensis possesses an ability to pierce or penetrate flesh (conventionally a phallic trait) as well as a resilience

and ability to heal (usually a feminine attribute); mirrors disrupt the plane of the artwork introducing a moment

of awareness that the viewer in their presence contributes to the syntax of the work; styrofoam, typically a

hazardous environmental waste, serves as a support for living plants. These dualities are embraced both in

material and meaning.

 

Anzinger’s work aesthetically erodes understandings of land (as it functions in both nature and geopolitics), and

bodies (human and non-human bodies, such as plants and the lifeforms they support). This erosion provides new

space for considering the possibility of the "anthropocene" as an era in which the ability to exert dominance

becomes obsolete. Instead recognized dependence and inseparability may disrupt current notions of hierarchy

and how we define "needs", "priorities" and “capital”.

 

Her work is a probing and playful inquiry through embodiment and disembodiment, wherein a question emerges

after the one preceding it is answered. In her practice painting, sculpture, environmental art, feminist and race

dialectic meet to raise questions of power, value and being. How do you occupy space? Are the body and mind

spaces there to be penetrated socially and physically, and/or are they that which we penetrate space with? How

do our perceptions of gender and race influence the answers we come up with?

 

Through transgressions— between the synthetic and the living, between sculpture and painting, between the

artist's hand and the viewer's reflection— the viewer is invited into the systems at play in the work, as an

intimate witness and participant in the new negotiations of value created within it, and the space this opens up.

 

Deborah Anzinger (b.1978, Kingston, Jamaica) received her BS from Washington College in 2001 and her PhD

from Rush University Medical Center in 2006. She is the founder of contemporary art organization New Local

Space (Kingston, Jamaica). Anzinger’s work has been exhibited at the Museum of Contemporary African

Diasporan Art (Brooklyn, New York), Royal West of England Academy (Bristol, England), the National Art

Gallery of the Bahamas (Nassau City, The Bahamas), the National Gallery of Jamaica, (Kingston, Jamaica) and

Corcoran Gallery of Art, (Washington, DC) and will be included in a forthcoming exhibition at Perez Art

Museum Miami, (Miami, FL) in 2019. Her work has been included in reviews in The New Yorker, Frieze

Magazine, Huffington Post and Artforum and published in Small Axe Journal (Duke University Press) and

Caribbean Quarterly (Taylor & Francis). This will be her first solo exhibition in New York.