Deeply intertwined with her own writing, Ettinger’s intimately-scaled works represent an ongoing examination of the space of wounds, including those that are cultural, historical, as well as personal. Built through successive thin veils of paint and pointillist marks, often over the course of several years, her paintings adopt an almost holographic appearance, as spectral figures emerge from fields of movement. Organized in ongoing series or cycles that take their titles from mythological female figures, as well as art historical scenes like the Pietà, Ettinger looks at the ways in which women have been made to be vessels for trauma, and carriers of grief across generations. Through abstraction, this space is not portrayed as a monolithic one, but a mutable one that connects memory and experience with healing, and builds a resonance across image, language, and emotion.
Bracha L. Ettinger’s solo exhibition Eurydice—Kaddish—Medusa, composed from works from Centre Pompidou’s permanent collection, was curated by Alicia Knock at Centre Pompidou, Paris in 2024. Past solo exhibitions include: Castello di Rivoli, Turin; UB Anderson Gallery, University of Buffalo, New York; the Museum of the City of St. Petersburg, Russia; the Musée des Beaux-Arts d’Angers, France; the Fundació Antoni Tàpies, Barcelona; and The Drawing Center, New York; among others. Her works are held in the permanent collections of Centre Pompidou, Paris; Castello di Rivoli, Turin; GAM, Turin; Museum of Angers; Israel Museum, Jerusalem; Tel Aviv Museum of Art and Haifa Museum of Art; Museum of Modern Art, Warsaw, among others.
[excerpted from Andrew Kreps Gallery website: www.andrewkreps.com]
