Lesley Vance, ‘Untitled’, 2017, Headlands Center for the Arts: Benefit Auction 2017

Please note: After bidding closes on Artsy, bids on this piece will be transferred and executed at the live auction component of the Headlands Center for the Arts benefit auction on the evening of June 7, 2017.

Inspired by the seventeenth-century Spanish still-life tradition, Lesley Vance carefully arranges and lights objects such as fruits or shells. She then photographs these arrangements, and the resulting images serve as the basis for her abstract paintings. Vance’s work has been the subject of solo and two-person exhibitions at the Bowdoin College Museum of Art, Brunswick, Maine; The FLAG Art Foundation, New York; and the Huntington Library Art Collections and Botanical Gardens, San Marino, California, with Ricky Swallow. Recent group exhibitions featuring her work include The Campaign for Art, SFMOMA; Variations: Conversations in and Around Abstract Painting, Los Angeles County Museum of Art; Painter Painter, Walker Art Center, Minneapolis; and the 2010 Whitney Biennial, Whitney Museum of American Art, New York. Vance's work is included in the public collections of the Hammer Museum, Los Angeles; SFMOMA; the Milwaukee Art Museum, Wisconsin; the Museum of Modern Art, New York; and the Whitney Museum of American Art, among others. A new solo exhibition of her work is forthcoming at David Kordansky Gallery, Los Angeles. Born in Milwaukee, Vance lives and works in Los Angeles.
–Courtesy of Headlands Center for the Arts

Image rights: Courtesy of the artist and David Kordansky Gallery

About Lesley Vance

Lesley Vance is known for her loosely worked and gestural paintings that obliquely reference traditions of still life and landscape painting. Vance’s arrangements are precarious and idiosyncratic, often featuring unearthly or haunting light; these blur the boundary between the real and the imagined or remembered. More recently, Vance’s work has become more abstract, but still references the same still life set-ups. Vance begins by photographing her arrangements, which serve as the basis for her paintings; she then works in a wet-on-wet technique using a palette knife to create and erase strokes of paint. Vance makes each painting in one sitting because she wants “the image to all be in one layer, so you can’t trace the steps backward to the original.”

American, b. 1977, Milwaukee, Wisconsin, based in Los Angeles, California