Tricia Wright

๐˜›๐˜ณ๐˜ถ ๐˜๐˜ข๐˜ญ๐˜ถ, ๐˜ˆ๐˜ณ๐˜ฆ๐˜ฐ๐˜ญ๐˜ข

2010

Paper, rubber, metal

15 x 15 inches

 

 

Tru Valu is a series of drawings made by pricking the design through the reverse of the paper. The series considers the relationship between decoration and function and the value judgments attached to each, and the dichotomy between perception and reality that permeates the lives of ordinary women. The drawings reference lace, doilies and other decorative materials associated with the domestic world, embedded with functional hardware and component parts. The works make reference to intimate body parts and bodily functions, and to skin textures like goose flesh and razor rash. The title for the series is a reference to the chain of hardware stores where the artist sources the materials.
 

 

75% of this sale goes to the artist.

 

Tricia Wright, ๐˜›๐˜ณ๐˜ถ ๐˜๐˜ข๐˜ญ๐˜ถ๐˜ฆ, ๐˜ˆ๐˜ณ๐˜ฆ๐˜ฐ๐˜ญ๐˜ข

$1,800.00Price
  • Tricia Wrightโ€™s work consists of bridging the gap between what is seen and what is unseen. Working in painting, sculpture, and photography, Wright looks to objects that historically have been associated with women, such as ribbon and lace doilies, and have thus been assumed to be trivial and purely ornamental. Deeply influenced by Surrealist and Dada movements, her work can be viewed as a series of readymades, and can be historically tied to the work of Marcel Duchamp and Mรฉret Oppenhiem. Each of Wrightโ€™s works can be seen as a series of layers- her piece A Woman Looking at Herself from the series Walled Garden consists of the medieval painting Marcia which shows a woman looking at herself in the mirror, shown digitally on a tablet, which has then been photographed and then printed onto a canvas that has also been painted. In addition to this, Wright situates the viewer as an additional and uncomfortable layer, forcing them to look upon themselves and question their preconceived notions around gender and โ€œfeminine objects.โ€ This reversal of gaze can again be seen in her series Pizanโ€™s Garden; Altered Annunciations, in which Wright removes the Archangel Gabriel from Old Master paintings of the annunciation and replaces him with a mirror image of Mary. Allowing Mary to gaze upon herself shifts the power dynamics and leads the viewer to question how it is that they are additionally looking upon her. Through Wright's use of recontextualization, she is able to bring up questions of who and what has value and bring forth what has once been hidden or underrepresented.

     

    Born in England, Tricia Wright has exhibited singularly and alongside Michela Martello at Pen and Brush, as well as across the United States and internationally. She was a winning finalist for the MTA Arts and Design public art commission in New York in 2018 and was awarded the Under-Recognized Artist Grant from the Pollock/Krasner Foundation and Arts Mid-Hudson in 2017.

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