Little sisters

Catherine Repko

Little sisters, 202255 x 45cmSign in to view price
Details
Material
oil on canvas
Description
Human-crafted. AI-refined.

The artwork features a striking composition of bold, blocky shapes and vibrant colors. The central figure, rendered in a deep red, appears to be a stylized human form reclining against a backdrop of mottled brown and ochre hues. The overall impression is one of a flattened, almost totemic representation, with the figure's distinctive ears and simplified facial features adding to the sense of abstraction. The artist's use of a limited palette and geometric shapes suggests an exploration of the interplay between form and color, hinting at a modernist or minimalist artistic style. This piece likely reflects the artist's intention to distill the human figure into its essential visual elements, creating a visually arresting and contemplative work of contemporary art. ...

Similar Artworks
Concrete Canvas Prints
Angela De La Cruz
Concrete Canvas Prints, 2019
91.5 x 81 x 1cm
Toqiéto-foynifrh (Live has promised to sustain)
Katarina Caserman
Toqiéto-foynifrh (Live has promised to sustain), 2024
190 x 140cm
Sweet Spot
Dee Ferris
Sweet Spot, 2017
152 x 102cm
Tysetza
Echo Burst 2
Vivien Zhang 张月薇
Echo Burst 2, 2022
210 x 180cm
Harpynprah
Abyss
Dee Ferris
Abyss, 2017
152 x 102cm
Monochrome (Purple)
Angela De La Cruz
Monochrome (Purple), 2020
70 x 50 x 7cm
Skorzy en
Katarina Caserman
Skorzy en, 2023
55 x 25 x 3.8cm
Lounge Lover
Dee Ferris
Lounge Lover, 2013
170 x 230cm
Lady Ghislaine II
Sofia Mitsola
Lady Ghislaine II, 2022
230 x 240cm
Dirty (Fuchsia)
Angela De La Cruz
Dirty (Fuchsia), 2011
54 x 46 x 28cm
“A toucan. Maybe a wizard?”
Mary Ramsden
“A toucan. Maybe a wizard?”, 2021
33 x 25cm
Field
Phoebe Unwin
Field, 2018
183 x 153 x 2.5cm
Astral Dreams, Lapis Skies
Sofia Mitsola
Astral Dreams, Lapis Skies, 2025
180 x 220cm
Marseille SB IV
Stefania Batoeva
Marseille SB IV, 2024
200 x 170 x 3.5cm
Adonis goutte-de-sang
Shuo Hao
Adonis goutte-de-sang, 2023
162 x 130cm
Iwisgradif | Side Effects of being mattered
Katarina Caserman
Iwisgradif | Side Effects of being mattered, 2025
150 x 190cm
Grid Method (Teal)
Vivien Zhang 张月薇
Grid Method (Teal), 2022
95 x 80cm
And the Songbirds Keep Singing
Dee Ferris
And the Songbirds Keep Singing, 2005
214 x 153 x 4cm
Catherine Repko
Artist
Catherine Repko

Painting is a way of reliving her past, but also of reimagining it: a long drawn out passage that ceases to end, like a game of telephone, each painting another whisper across a chain. The story constantly changes, as do her sisters, who are almost always spared of defining facial features – Catherine prompting us to refract our own relations onto these unadorned heads. She’s constantly thickening the plot, metaphorically and physically, mixing her oils in powdered marble dust, commonly used to harden cement. Inspired by the surfaces of frescos – a method of mural painting onto lime plaster, she concocts her oils into a gritty paste, vigorously stabbing at the canvas to disperse the pigment. On zooming closer you’ll notice the surfaces have the illusion of dried terracotta, their matte, mottled facades seeming almost to have been sculpted or formed by a potter. Other marks pick up the bristles from her brushes, which Catherine often ponders on by appreciating the thick swathes of strokes in Richard Diebenkorn’s landscapes, or Joan Mitchell’s exuberant impasto abstracts, as she adds more thick paint to the surfaces, each painting quickly calcifying, morphing drastically from the light crayons and washes they started as. She prefers working at night, her paintings brought to life when most are asleep. Of course her painted sisters stay wide awake with her, whispering and converging, their sand-like, frescoed faces accentuated by the fluorescence of the studio lights above. The paintings eventually fall sleep when marble dust is applied, the paint drying quickly. She’ll often paint repeated versions of the same scene – jostling from oil pastels in sketchbooks to scraps of card, finding more crops and angles to carve out of brush. Painter Milton Avery was continually pulled back to American landscapes for inspiration, painting the hills, shores and fields; Catherine is similarly fixated by her sisters and ‘their ineffable bond’, rolling back the years, each painting for Sister’s whispers a distilling of a singular drawn out moment, as temporary as a cloudscape. Blink and you might miss it… ...

Catherine Repko: Artworks
Little sisters
Catherine Repko
Little sisters, 2022
55 x 45cm
Spoken or unspoken, a wordlessness
Catherine Repko
Spoken or unspoken, a wordlessness, 2022
55 x 45cm
Continuum
Catherine Repko
Continuum, 2022
55 x 45cm
Bridesmaids, things are changing
Catherine Repko
Bridesmaids, things are changing, 2022
55 x 45cm
Unlock Price & Inquiry Access