ANJA SALONEN AND MAJA DJORDJEVIC BODY BUILDING

Anja Salonen, Looking, Looked At, Look Away, 2016, oil on canvas, 60 x 40 inches each, 152.4 x 101.6 cm

Anja Salonen, Conversation Piece, 2016, oil on canvas, 72 x 96 inches, 182.9 x 243.8 cm

Anja Salonen, Cornflake Crusade, 2016, oil on canvas, 72 x 60 inches, 182.9 x 152.4 cm

Anja Salonen, Dad Never Had It Like This, 2016, oil on canvas, 72 x 60 inches, 182.9 x 243.8 cm

Anja Salonen, Party of One, 2017, oil on canvas, 48 x 36 inches, 121.9 x 91.4 cm

Maja Djordjevic, Everything Is Awesome, 2016, oil and enamel on canvas, 59 x 153.5 inches, 150 x 390 cm

Maja Djordjevic, Sun Isn’t Always on Your Side, 2017, oil and enamel on canvas, 110 x 47 inches, 280 x 120 cm

Maja Djordjevic, Don’t Worry, I Love You!, 2017, oil and enamel on canvas, 67 x 55 inches, 170 x 140 cm

Maja Djordjevic, Swinging Me Softly, Swinging Me Gently and Slowly, 2017, oil and enamel on canvas, 59 x 153.5 inches, 150 x 390 cm

Maja Djordjevic, More Then Party, 2017, oil and enamel on canvas, 71 x 47 inches, 180 x 120 cm

Maja Djordjevic, Get Ride With Me, 2016, oil and enamel on canvas, 71 x 47 inches, 180 x 120 cm

Maja Djordjevic, Only When I Lose Myself, 2017, oil and enamel on canvas, 71 x 51 inches, 180 x 120 cm

The Hole is proud to present a two-person exhibition by LA-based artist Anja Salonen and Belgrade-based artist Maja Djordjevic entitled “Body Building.” In the show both artists depict the female body with a fresh perspective, loading it up with conflict or tension and building it up with paint.

In the images above we can see the different approaches of the artists. Salonen paints more traditional female nudes but builds them askance; telling the truth but “tell(ing) it slant” as in Dickinson’s poems. The figures are often surrealistically arranged in Salonen’s works, a dream-like tableau surrounded by plants, patterns, pools. There is nothing idealized about them, though the pastel palette might create a false sense of calm: her paintings seethe with tension and drama, using the female figure to embody her examinations of intimacy and detachment, building up and breaking down.

In Maja Djordjevic’s work, the female figures are much more rudimentary, barely a collection of early computer game pixels; a nude form with a little scratch of vagina and dotted on boobs, howling mouths. Like Pettibon’s VAVOOM children these figures seem to be connected to something primal, and loud. Djordjevic paints these rectilinear shapes by hand, sketched out in an early kind of MacPaint program, where squares of color are so large as to prevent too much detail. The anonymous women that populate her paintings are used as symbols of feminine power, pleasure and pain; and while being tiny and barely marked out as a girl, they explode with vitality and even positivity.

For more information on the exhibition email raymond@theholenyc.com.

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