Unborn voices

Gal Schindler

Unborn voices, 202170 x 60cmSign in to view price
Details
MaterialGallery
oil on canvasThe approach
Description
Human-crafted. AI-refined.

This pastel-hued artwork features an abstract, ethereal portrait against a lush, verdant background. The composition employs a soft, dreamlike palette of pinks, greens, and yellows, creating a sense of tranquility and contemplation. The subject's face is only partially visible, with the focus drawn to the intricate, almost glowing lines and textures that radiate outward, evoking a sense of energy and movement. The artist's style blends impressionistic and expressionistic elements, inviting the viewer to engage with the piece's emotive and contemplative qualities. This work likely explores themes of identity, introspection, and the interconnectedness of the human experience with the natural world. ...

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Gal Schindler
Artist
Gal Schindler
B.1993

Gal’s father regularly sends photos of newly blooming flowers from his garden, or from the streets of Tel Aviv, reminding her of the vivid nature back home. She resides in London, and the incongruousness of her two lives trickle through her recent oil paintings, which all feature plants she’s stumbled across in England, or in Israel, each composed against solitary figures emerging from coloured panoramas. They are stridently posing women, all plucked from her imagination. In previous paintings her subjects are depicted daydreaming or contemplative, but here each meets the viewer with piercing eyes, demanding us to look back. Gal is drawn to presenting curious characteristics as she is for handling varying viscosities of paint – revelling when details are more ambiguous. She describes the women as ‘amorphous’, undefined in both their posture or expression, which Gal will often ruminate on by looking at Edvard Munch’s painting of a mermaid in repose, the flittering strokes similar to the ones she’ll concoct with brushes. While painting, Gal makes brimming digital folders of paintings and film stills she’s accrued online, describing the practice as a process of ‘lingering’ with visual references before paint directs her elsewhere. For Mud Garden some of these influences creep in: you’ll notice the soft, blotchy details in the plants chime with Georgia O’Keefe’s synonymous depictions of flowers, or the confident akimbo poses draw similarities to Otto Mueller’s paintings of women wading through shallow water. Painting is a boundless maze. Rarely does Gal have a precise method for where the paint will fall before starting. She prefers a more evanescent process of frenzied spurts: applying thick layers of oils which she’ll remove and scrape at over long stints in the studio. Similar to faint bursts of refracted light through stained glass, windows of colour illuminate from behind the scenes – each veil of paint applied yielding glowing outlines onto the foreground. Anne Truitt would apply layers of paint under her sculptures that viewers might struggle to notice, but which in her words would ‘authenticate the colour on top’. Gal describes painting as ‘a process of learning’, every path she takes leading to another opening. Using both the handle and bristle of the brush, she builds up texture while the paint is wet, mixing her oils in syrupy mediums to elongate the process. The plants and flowers that sit uneasily on the foreground have the illusion of being collaged on, their treatment tended to with a defter hand to the more lively swathes behind. While working, she’ll often refer to Agnes Pelton’s paintings, the stars in ‘Challenge’ alluding to being pasted on, contradicting the more muffled, abstract marks behind. The titles refer to lines from poems she’s read: writers such as Anne Sexton, Muriel Rukeyser, Adrienne Rich and Yehuda Amichai among them. Gal likens poetry to a form of ‘verbal painting’, suggesting that both apply similar protracted lenses on the world. The title Mud Garden is a verse she made up. In Gal’s paintings every gesture counts, always peering from behind the planes, awaiting their turn. On zooming closer, details gain greater clarity, each swathe or scrape of paint as if they were words from a free verse poem. Writer Clarice Lispector notes in her acclaimed novel Agua Viva, ‘…when I think a painting is strange that’s when it’s a painting. And when I think a word is strange that’s where it achieved the meaning. And when I think life is strange that’s where life begin.’ Gal’s paintings hover in a similar curiosity for paint, words and life – her expressive figures limboing through barren dimensions, chiselled by brush and unearthed as poetic verses. Mud Garden celebrates the speed of paint, intuition and deliberation – the merging of memories and moments, where time is as malleable as the flick of paint on a brush. ...

Gal Schindler: Artworks
Lighter
Gal Schindler
Lighter, 2024
52.8 x 45 x 3.3cm
No Explanations
Gal Schindler
No Explanations, 2024
120 x 180cm
Floating knives
Gal Schindler
Floating knives, 2021
60 x 40cm
Clouds devour their prey
Gal Schindler
Clouds devour their prey, 2021
35 x 45cm
Unborn voices
Gal Schindler
Unborn voices, 2021
70 x 60cm
Fingers of a ghost
Gal Schindler
Fingers of a ghost, 2021
180 x 120cm
A thousand doors ago
Gal Schindler
A thousand doors ago, 2021
120 x 100cm
Hair
Eternal window
Gal Schindler
Eternal window, 2021
46 x 36cm
Writ in Water
Gal Schindler
Writ in Water, 2023
112 x 82cm
Loopholes
Gal Schindler
Loopholes, 2023
100 x 70cm
Big little girl
Gal Schindler
Big little girl, 2023
21 x 29.7cm
Elevate
Gal Schindler
Elevate, 2023
85 x 110cm
Echo
Moonbeams
Gal Schindler
Moonbeams, 2024
10 x 15cm
Vagueness was the insides of nature
Gal Schindler
Vagueness was the insides of nature, 2023
200 x 120cm
Scarlet lake
Gal Schindler
Scarlet lake, 2024
60 x 85cm
Widening Circles
Gal Schindler
Widening Circles, 2023
180 x 220cm
All that I have inside
Gal Schindler
All that I have inside, 2024
10 x 15cm
Shells
Shells
The approach
Gallery
The approach
London

The Approach is co-directed by Jake Miller and Emma Robertson. Located in Bethnal Green above The Approach Tavern, for over twenty years it has operated an internationally recognised programme from its East London base. The gallery is known for discovering artists and establishing their careers as well as making inter-generational curated group shows a strong focus. The list of represented artists includes the Estates of important overlooked female artists Heidi Bucher and Maria Pinińska Bereś, as well as seminal British collage artist John Stezaker, together with established and emerging artists including Magali Reus, Peter Davies, Lisa Oppenheim, Sandra Mujinga, Pam Evelyn, Sara Cwynar, Sam Windett and Caitlin Keogh. Over the years the gallery has operated parallel programmes in additional gallery spaces in London’s West End (The Approach W1) and in Shoreditch (The Reliance). The gallery is currently based solely in its original East End location and continues to expand its programme, showcasing its represented artists in the main gallery space, and both represented and non-represented artists in The Annexe, a smaller, more experimental space at the back of the building. ...

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