Stefanie Heinze (b. 1987, Berlin, Germany) paintings display ambiguous forms that become recognizable as unexpected subjects. From disembodied body parts, to everyday objects, to animal-like figures, her subjects melt into fantastical backgrounds to create vivid visual worlds, which reveal an interplay between high and low culture. Heinze’s brightly colored, imaginative compositions are tenderly subversive in their details and symbolism, complemented with equally lyrical titles. Pencil, ink, or ballpoint pen drawings – sometimes torn and collaged into multi-layered compositions – form a basis for Stefanie Heinze’s artistic practice, mapping for the opulent language of her paintings. Testing the fine line between abstraction and figuration, Heinze is categorically unique, as she explores new senses and possibilities of representation.
In the short time since studying at Academy of Fine Arts, Oslo (2012) and graduating from the Academy of Fine Arts in Leipzig (2016), Heinze’s works are in the collections of the Institute of Contemporary Art, Miami; Hammer Museum, Los Angeles; Musée d‘Art Moderne de Paris; MAMCO, Geneva; Staatliche Kunstsammlungen Dresden; Pérez Art Museum, Miami; The Hepworth Wakefield, UK; Marguerite Hoffman Collection, Dallas; The Rachofsky Collection, Dallas; Mead Gallery at Warwick Arts Centre, UK; the Delfina Collection, UK; and the Fondazione Sandretto Re Rebaudengo in Turin.Brett Ginsburg (b. 1990, Kansas City, United States) received an MFA in Painting/Printmaking from Yale University (2022), and a BFA from the Kansas City Art Institute (2013). His painting and sculpture respond to the vibratory and unseen technical systems that proliferate our surroundings, engaging in the spatial navigation of infrastructural, automotive, and ecological sites. Ginsburg’s work contemplates the influence of entomology and evolutionary biology on technological progress. By inter-scaling visual information from first hand encounters and research artifacts, his work serves as an abstract proposition for questioning and perception, rather than a definitive thesis. Ginsburg’s interests also encompass imaging through machines, microscopes, scanners and casting simulation technologies to consider the internal and engineered complexities of his subjects. By adapting the indexical processes of mold-making and mono-printing, he compresses industrial materials and diverse modes of representation into singular picture planes. This technique creates subtle interferences and adds pictorial tension, reflecting the simultaneity that characterizes our attention-driven society.
Relevant exhibitions include Kraupa-Tuskany Zeidler, Berlin (2024); Matthew Brown Gallery, Los Angeles (2024, solo); Kraupa–Tuskany Zeidler, Berlin (2023, solo); Anonymous Gallery, New York (2023); Lo Brutto Stahl, Paris (2023); Jeffrey Deitch, New York (2022); Below Grand, New York (2022); Green Hall Gallery, New Haven (2022); The Bunker West, Santa Monica Mountains (2020); and the Museum of Arts and Design, New York (2014).