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There are two more extra-large greenscreen paintings in the show—one of Scott literally and somewhat hilariously on fire; the other, a close-up of her face, one eye peeking out from under a blindfold. Both paintings had to be removed to give Gribbon enough room to paint Here for you. The other pictures in the show are smaller and much less fierce. Most of them are scenes from Gribbon and Scott’s domestic life together—Scott, blindfolded and naked, reaching out to touch her reflection in a mirror; Scott, clothed, turning to look at Gribbon and us as she unloads the dishwasher. Gribbon thinks of the smallest ones as “documentary” paintings, but the sensuous, virtuoso paint handling and the sunlight falling on that ash-blond hair make them delicious to look at, no matter what size they are. The pleasures that oil painting can give, and so rarely do these days, are here in full. “I wanted my work to be visibly pleasurable, to reflect the pleasure I feel in what I’m making,” she tells me. “I had just started to go in that direction, and then I met Mackenzie.”
When I visit Gribbon in late August, she leads me to her Brooklyn studio through a magical secret garden with tall trees, low stone walls, and gravel paths. We head down a flight of steps into a smallish, double-height room with a skylight. It may be New York’s most charming studio: Paintings for “Mirages,” her show at the Collezione Maramotti in Northern Italy her first solo show in a European museum, which opened in October , hang on the whitewashed brick walls, and nine of the show’s 10 paintings are of Mackenzie. The eye-catcher is Here for you, a 13-foot-long stunner of Scott lying supine on a slab, under five floodlights, against a greenscreen background, naked except for short-shorts and cowboy boots. Scott’s long ash-blond hair cascades over the slab’s edge. Her extra-pink nipples stand out as though she’s put lipstick on them. Her head is turned, looking at me as I look at her, a somewhat troubled expression on her beautiful face. The patient in Thomas Eakins’s The Gross Clinic or the half-dead giant in Dana Schutz’s Presentation come to mind. But this one is something else: Scott’s pose may echo female odalisques throughout art history, but we’re a long way from the male gaze. “People have become so accustomed to looking at unclothed bodies in art,” Gribbon explains. “Those are nudes, and they’re considered tasteful. But I want people to understand that it’s not a passive act to consume the image of another person’s unclothed body, which is why I like to make them feel more naked. Like, ‘Oh, maybe I’m not supposed to be looking at this.’ It’s a way to make the nude body less benign and more true to what it really is, which is extreme vulnerability on the part of the subject.”
A week before they met, in August 2017, Scott had a dream. “It was a sad one, about a woman leaving me,” she recalls. “She was holding my face, saying that she loved me but had to leave. About a year later, Jenna did leave me—but she came back.” They had met by chance at St. Dymphna’s, an Irish bar in the East Village, two very tall young women with long hair, dark in Gribbon’s case, inescapably blond in Scott’s. Both of them had had romantic relationships with women before, and they talked and talked, about their backgrounds and their work and everything else. “I’m from Tennessee and I went to college in Georgia, and she’s from Georgia and went to college in Tennessee,” Gribbon says. Scott kept ordering more neat vodkas, and Gribbon poured half of them under the table. “There was definitely a lot of chemistry, and before the end of the night, we were physically entwined at the bar,” Gribbon tells me. A few months later, she made a painting of Scott, the first of many. Scott became her muse—Gribbon paints her almost exclusively these days paintings of her son, Silas, now 11, are the exception .
Product detail for this product:
Suitable for Women/Men/Girl/Boy, Fashion 3D digital print drawstring hoodies, long sleeve with big pocket front. It’s a good gift for birthday/Christmas and so on, The real color of the item may be slightly different from the pictures shown on website caused by many factors such as brightness of your monitor and light brightness, The print on the item might be slightly different from pictures for different batch productions, There may be 1-2 cm deviation in different sizes, locations, and stretch of fabrics. Size chart is for reference only, there may be a little difference with what you get.
- Material Type: 35% Cotton – 65% Polyester
- Soft material feels great on your skin and very light
- Features pronounced sleeve cuffs, prominent waistband hem and kangaroo pocket fringes
- Taped neck and shoulders for comfort and style
- Print: Dye-sublimation printing, colors won’t fade or peel
- Wash Care: Recommendation Wash it by hand in below 30-degree water, hang to dry in shade, prohibit bleaching, Low Iron if Necessary
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