ANDREA MARIE BREILING
BIG MOOD
ANDREA MARIE BREILING
Night Gallery is pleased to present BIG MOOD, an exhibition of new paintings by Andrea Marie Breiling. This will be her second solo show at Night Gallery, following 2019's Have You Loved Me for the Last Time (Laid Bare). The exhibition will be on view at the gallery from September 8 - 26, 2020 by appointment only, and will remain as an online viewing room until October 24, 2020.
Andrea Marie Breiling, TAP IN SWEETIE, 2020.
A spirit of reverent defiance animates Breiling’s practice, engaging the history of abstract painting at the same time that she resists a singular mode of inquiry. In each monumental painting the viewer witnesses her conducting experiments in relation to her own physicality, and while earlier paintings took cues from Action Painting, the canvases in BIG MOOD are more akin to the Color Field movement. These forms are primarily constructed using spray paint, which she was first drawn to as a brush-free approach to painting and which has allowed her to render large forms while maintaining the frenetic energy for which she is known. Using spray paint over Flashe, acrylic, and enamel she builds multiple cross-hatched layers that coax new and deeper palettes and textures from these materials.
A spirit of reverent defiance animates Breiling’s practice, engaging the history of abstract painting at the same time that she resists a singular mode of inquiry. In each monumental painting the viewer witnesses her conducting experiments in relation to her own physicality, and while earlier paintings took cues from Action Painting, the canvases in BIG MOOD are more akin to the Color Field movement. These forms are primarily constructed using spray paint, which she was first drawn to as a brush-free approach to painting and which has allowed her to render large forms while maintaining the frenetic energy for which she is known. Using spray paint over Flashe, acrylic, and enamel she builds multiple cross-hatched layers that coax new and deeper palettes and textures from these materials.
Andrea Marie Breiling, Brian Liked & Hearted It (Instagram Blows), 2020
A spirit of reverent defiance animates Breiling’s practice, engaging the history of abstract painting at the same time that she resists a singular mode of inquiry. In each monumental painting the viewer witnesses her conducting experiments in relation to her own physicality, and while earlier paintings took cues from Action Painting, the canvases in BIG MOOD are more akin to the Color Field movement. These forms are primarily constructed using spray paint, which she was first drawn to as a brush-free approach to painting and which has allowed her to render large forms while maintaining the frenetic energy for which she is known. Using spray paint over Flashe, acrylic, and enamel she builds multiple cross-hatched layers that coax new and deeper palettes and textures from these materials.
Andrea Marie Breiling, Where's the Catch (B*tch I Know You're Lying), 2020
Throughout the exhibition Breiling subverts painting conventions, garnering exciting results. In some places the canvas is dyed instead of primed, creating vivid foundations for dizzyingly saturated compositions. She combines a myriad of substrates allowing violent alchemical reactions which are frozen in time on the face of her paintings. Elsewhere she layers lean over fat, resulting in ghostly remnants of previous gestures and dense surfaces built up to the brink of their breaking point. While each painting is approached with a unique set of solutions, a masterful understanding of color and a spirit of discovery unites each work. As the critic Barry Schwabsky recently wrote of Breiling’s work, “A clear, simple structure allows for great freedom, a sense of ‘everything goes,’ and it’s wonderfully exhilarating.” Indeed, Breiling’s new body of work ultimately invites the viewer to dispel with convention and experience each piece on its own wholehearted terms.
"Even at secondhand, as seen through my phone, Breiling’s art shows a radiance and vitality that speaks for itself; it tells me there’s something there, even if I can’t quite make out, at this distance, what it is."
– Barry Schwabsky, The Nation, August 4, 2020.
Andrea Marie Breiling, Through the Crest, 2020.
Andrea Marie Breiling, Your Face Is Like That of a God (I Can Smell It When It's Not Around), 2020.
Andrea Marie Breiling, Love Her Madly, 2020.
Andrea Marie Breiling, Leave It in the Sun (How Easy It Is to Love), 2020
"I work abstractly so it's about composition and color and you have to think about it like mathematics. But when I'm finished with the work I want it to become a memorial for a time or place."
– Andrea Marie Breiling, quoted by
Barry Schwabsky, The Nation, August 4, 2020.
Andrea Marie Breiling, LET IT GO, 2020.
Andrea Marie Breiling, Give Me All Your Drugs, 2020.
Andrea Marie Breiling (b. Phoenix, AZ) lives and works in Los Angeles. Breiling has had solo exhibitions at Night Gallery, Los Angeles, CA; Galleri Urbane, Dallas, TX; Sonce Alexander Gallery, Los Angeles, CA; and Peggy Phelps Gallery, Claremont, CA. She has also participated in multiple group exhibitions, including Achenbach Hagemeier, Berlin, Germany; Wilding Cran Gallery, Los Angeles, CA; ltd Los Angeles; Skibum Macarthur, Los Angeles, CA; Tin Flats, Los Angeles, CA; and 356 Mission, Los Angeles, CA, among others. Have you loved me for the last time (Laid Bare) was Breiling’s first solo exhibition at Night Gallery after appearing in the group exhibition True Lies in July 2017.
Where’s The Lie (America), 2020.
Flashe, house primer, acrylic, and aerosol spray on canvas.
96" x 80"
Brian Liked & Hearted It (Instagram Blows), 2020.
house paint, Flashe, and aerosol spray on raw canvas.
73" x 66"
Your Face Is Like That of a God (I Can Smell It when It's Not Around), 2020
Flashe and aerosol spray on canvas.
96" x 80"
LEAVE IT IN THE SUN (How Easy It Is to Love), 2020.
Acrylic and aerosol spray on canvas.
71 3/4" x 59 1/2"
