Jennifer Packer Flowers at Inez Bennett blog

Jennifer Packer Flowers. Packer started painting flowers from observation in 2012, originally as a respite between portraits. Packer’s canvases come into being over a period of anywhere from months to years. Packer’s works are portals to interrogating how flowers are used and what meaning we attribute to them. Deep crimsons, sultry yellows, eerie greens, vibrant pinks — packer’s iridescent colour palette suffuses her paintings and directs patterns of light toward viewers in ways that solicit a depth of feeling and an intensity of presence. Her surfaces record this perseverating—knifing scrapes indicate a passage removed or the deleterious effect of a gamsol drip, as in graces, 2017. During a visit to new york’s. They vary in size and subject: They vary in size and subject: They act as a way to remember violent losses within the black community and as tender moments that embody the senses, ways of holding and being immersed in the love of small living things. The show, which originated at the serpentine gallery in london, offers 35 works here depicting friends and acquaintances in.

Packer’s canvases come into being over a period of anywhere from months to years. Packer’s works are portals to interrogating how flowers are used and what meaning we attribute to them. They act as a way to remember violent losses within the black community and as tender moments that embody the senses, ways of holding and being immersed in the love of small living things. During a visit to new york’s. They vary in size and subject: Deep crimsons, sultry yellows, eerie greens, vibrant pinks — packer’s iridescent colour palette suffuses her paintings and directs patterns of light toward viewers in ways that solicit a depth of feeling and an intensity of presence. Packer started painting flowers from observation in 2012, originally as a respite between portraits. They vary in size and subject: The show, which originated at the serpentine gallery in london, offers 35 works here depicting friends and acquaintances in. Her surfaces record this perseverating—knifing scrapes indicate a passage removed or the deleterious effect of a gamsol drip, as in graces, 2017.

Jennifer Packer The Eye Is Not Satisfied With Seeing at the Whitney

Jennifer Packer Flowers Packer’s works are portals to interrogating how flowers are used and what meaning we attribute to them. Packer’s works are portals to interrogating how flowers are used and what meaning we attribute to them. They act as a way to remember violent losses within the black community and as tender moments that embody the senses, ways of holding and being immersed in the love of small living things. Her surfaces record this perseverating—knifing scrapes indicate a passage removed or the deleterious effect of a gamsol drip, as in graces, 2017. Deep crimsons, sultry yellows, eerie greens, vibrant pinks — packer’s iridescent colour palette suffuses her paintings and directs patterns of light toward viewers in ways that solicit a depth of feeling and an intensity of presence. Packer’s canvases come into being over a period of anywhere from months to years. Packer started painting flowers from observation in 2012, originally as a respite between portraits. During a visit to new york’s. The show, which originated at the serpentine gallery in london, offers 35 works here depicting friends and acquaintances in. They vary in size and subject: They vary in size and subject: