Employing the techniques of the past in the service of contemporary exploration, I seek to add a fresh voice to the sometimes venerable, sometimes dusty and archaic tradition of large-scale figurative painting, while subtly addressing the mythology, objectification and subjugation of women. My subjects are at first glance close to home-new mothers, friends, lovers, artists, dancers-but are then quickly placed at a distance via edgy modification, rigorous technique, minimal contexts and composition, and idiosyncratic use of color. I am also interested in social presentation, artifice, and simulation as they relate to my subjects. I hope to peel away a gossamer thin layer of reality, not just to document the real but also to reveal what might be.

 2007

 Written by Margaret Hawkins, art critic;
Published in Art News (October 2007)

Rose Freymuth-Frazier’s oil paintings – represented here by ten portraits and two renderings of flamboyant women’s shoes – have an irresistible but guilt-inducing appeal. Her sensuous confections veer toward the corny soft porn of romance-novel covers but imbue the subjects with unexpected intensity.

The flesh of the figures, which are almost always alluring, sometimes nude, women, glows with a kind of overheated ardor. The subjects are ripe, even when they appear to be dressed in mourning, as in “Dahlia” (2007). “Redhead” (2006) places a classic temptress of this genre in front of a juicy gray-green background swimming with light. The subject’s skin is milky, her exposed breasts ample. With her sexy elbow-length black lace gloves, her closed eyes, and her expectant expression, she appears both brazen and innocent.

Freymuth-Frazier pays the same attention to the details of desire and fetish in the depictions of shoes, like the painful-looking platforms in “Electric Blue Luscious” (2007), but it is in her portraits that she demonstrates her chops.

“Dina (Singer)” (2006), is a head shot of young black girl in Rasta braids and an orange jacket, drenched in light. This painting, like all Freymuth-Frazier’s soulful portraits set against glowing grounds, suggests a slightly seedy, slightly cheesy, and highly seductive nightlife.

 2007

 

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