new exhibitions

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Jul 13 - Sep 26, 2020 FINAL WEEK
Pilar Corrias is pleased to present Sophie von Hellermann’s A Midsummer Night’s Dream, an exhibition of twelve new paintings.
Sophie von Hellermann’s paintings originate as projections of her imagination. A small kernel into her mind which is blown up onto a large canvas. These projections become a background for a shadow dance where something that is conjured comes into existence. In A Midsummer Night’s Dream we are invited into a series of imaginary vignettes that are inspired by the foibles of wonderment and love. The series was completed amidst the dreamlike experience of her lockdown in the English countryside. von Hellermann felt a sense of urgency to paint during this period of global sickness and isolation and sickness The parallels between her experience of sleeping, resting and madness and Shakespeare’s play lead Von Hellermann to be inspired by the environment that surrounded her; the woods amidst the dew drops on the sweetly scented flowers, the joy of spring and summer at the same time as this period of uncertainty and death.

Sep 8 - 26, 2020 FINAL WEEK
Pilar Corrias is pleased to present Gisela McDaniel’s Making WAY/FARING Well, an exhibition of six new paintings, opening at the gallery on September 8, 2020.
Gisela McDaniel (b. Bellevue, NE 1995) is a diasporic, indigenous Chamorro artist. Her work is reflecting the journey of womxn and non-binary people who have survived sexual trauma. By interweaving assemblages of oil painting, immersive audio sequences and objects connected to her subjects, she intentionally incorporates survivor’s voices in order to subvert traditional power relations and to enable both individual and collective healing. She aims to give a voice, safe space, as well as a confidential vehicle for survivors to not only share their experiences, but to also explore how those experiences have affected them long-term.
Working primarily with womxn who identify as Black Indigenous Women of Colour (BIWOC), her work deliberately disrupts and responds to historical and contemporary patterns of female silence. There is no denying the ways in which global histories of enslavement, militarisation, colonisation, and patriarchal violence continue to inform the manner in which her subjects reflect on their personal stories of ‘waymaking’. Their calls to reclaim their bodies and identities illuminate active resistance to these same systems.
Paul Gaugin is a primary but not exclusive figure whose work McDaniel engages and converses in regard to his artistic and colonial legacy in the Pacific. As a Pacific Island artist, McDaniel denounces Gaugin’s sexual and racial fantasy forged from a position of patriarchal, colonialist power and regains the Pacific territory and visual framework Gaugin had occupied for himself.
In this new body of work, McDaniel has been engaging with the practice of voyages in between islands, which, for her, are metaphoric for the way the subjects of her paintings evolve and become resilient after suffering from sexualised violence. The body of work presented here maps a range of intimate journeys undertaken by womxn who made their way to places of healing.



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