Philip Martin Gallery is pleased to present, "Hyperaccumulators," an exhibition of new paintings by New York-based artist Lisa Sanditz. Sanditz's works are quintessential images of modern life in America.
Lisa Sanditz’s paintings come to us in a helter-skelter haze of painterly intent, personal reminiscence, expression and imagination, tied together by way of vivid color, brushwork, composition and pictorial energy. The world depicted in Sanditz’s pictures is in some sense a personal and introspective one, into which the outside world barges - as contemporary existence is prone to do - with viral memes, kaleidoscopic narratives and the not-so-great outcomes of humankind’s best-laid plans.
The title of Sanditz's show, “Hyperaccumulators," refers to a class of plants that contain so many metalloids their latex sap has, chemically speaking, become paint. When cut, these plants ‘bleed’ blue paint, deterring predation. Hyperaccumulators have adapted to succeed in a world in which the ability to live amongst human products presents an evolutionary advantage over their ‘weaker’ competitors. Sanditz, who has long engaged with the complexities of landscape, presents works in this show like, “Remember Ash Trees,” side-by-side with "Superbloom Selfies,” a painting that points to how we navigate natural spaces in the 21st-century. "Skittle Bear 2," is a work in which, "Brightly brushed and poured paint provides a psychedelic candy-colored world for a black bear’s first encounter with a pack of Skittles,” Sanditz notes.
Too much, too fast, everything, everywhere, all at once. "5:01pm” finds a family alone together in repose on their cell phones; “Testicle Tanning" presents huckster media monetizer and manipulator Tucker Carlson’s belief in (and use of?) intimate grooming to boost one’s manhood; “Mar-a-Fucking-Lago, Too” combines a materially thick, painterly image of Donald Trump's would-be Florida palace with the “truck nuts” of his would-be insurrectionists. Today, we are ourselves ‘hyperaccumulators,’ our own wandering evolutionary course marked by doors opened, doors closed and unclear possibilities. Lisa Sanditz’s considered yet active approach to painting takes on what the great medium of Painting can do, figuring one individual’s perception and place in the world.
Lisa Sanditz (b. 1973, St. Louis, MO) received her BA degree from Macalester College (St. Paul, MN) and her MFA from the Pratt Institute (Brooklyn, NY). Sanditz's recent solo and group shows include "Pocket Universe" (Philip Martin Gallery, Los Angeles, 2023); "The Moth & The Thunderclap," Modern Art (London, UK, 2023); “Evergreen," Huxley Parlour Gallery (London, UK, 2023); and "Unnatural Nature: Post-Pop Landscapes,” Acquavella (New York, NY, 2022). Sanditz’s work has recently been featured in solo and group museum exhibitions at Orange County Museum of Art (Costa Mesa, CA); Torrance Art Museum (Torrance, CA); Crystal Bridges Museum of American Art (Bentonville, AK); Cummer Museum of Art (Jacksonville, FL); Kemper Museum of Contemporary Art (Kansas City, MO); Nerman Museum (Kansas City, MO); The Pizutti Collection of the Columbus Museum of Art (Columbus, OH); New Britain Museum of Art (New Britain, CT); and Weatherspoon Art Museum (Ontario, Canada). Sanditz’s selected solo and group gallery exhibitions include Philip Martin Gallery (Los Angeles, CA); Jonathan Ferrara Gallery (New Orleans, LA); Huxley Parlour Gallery (London, UK); Shoshana Wayne Gallery (Los Angeles, CA); CRG Gallery (New York, NY); ACME Gallery (Los Angeles, CA); Rodolphe Janssen Gallery (Brussels, Belgium); Feight + Volume Gallery (New York, NY); Girls Club Foundation (Fort Lauderdale, FL); Transmitter Gallery (Bushwick, NY); Steven Zevitas Gallery (Boston, MA); Pratt Steuben Gallery (Brooklyn, NY); and Southern Alberta Art Gallery (Alberta, Canada). Sanditz is included in major public collections including Dallas Museum of Art (Dallas, TX); St. Louis Art Museum (St. Louis, MO); Kemper Museum of Contemporary Art (Kansas City, MO); Smithsonian Museum of Art (Washington, D.C.); West Collection (Oaks, PA); Fogg Art Museum, Harvard University (Cambridge, MA); and Herbert Johnson Museum of Art, Cornell University (Ithaca, NY). Sanditz’s work has been reviewed in publications such as The New York Times, The New Yorker, New York Magazine, Artforum, ArtNews, Time Out New York, The Brooklyn Rail, BOMB Magazine, Hyperallergic, ArtPulse, New American Paintings and Modern Painters. Sanditz lives and works in Hudson Valley, New York.
"Hyperaccumulators" is on view April 20 - May 18, 2024, with an opening for the artist Saturday April 20, from 5-8 pm.
Philip Martin Gallery is open Wednesday-Saturday 11-5 and Tuesdays by appointment. The gallery is located at 3342 Verdugo Road, Los Angeles CA 90065. For additional images or information, please call 323-507-2037, or email info@philipmartingallery.com.
