Sasha Gordon: The Flesh Disappears, But Continues To Ache

Gordon paints surreal, anthropomorphic versions of herself in hyper-realistic detail. The artist uses these doppelgängers to explore the complexity of her identity as a young, queer, Asian-American woman. Her practice recalls the erotic, highly charged paintings of Paul Cadmus and his documentation of gay life in early 20th-century New York. Gordon’s work also resonates with Caroline Coon’s crisp-edged paintings and Amanda Ba’s unsettling figuration.

In this new body of work, Gordon depicts herself in an unusual array of material forms, transposing her physical characteristics into animal, botanical and even geological features. Through these avatars she portrays the othering of unconventional human bodies and examines her own experiences of alienation, whilst challenging the logic of certain limiting social norms.

Also on show:

Yooyun Yang: Passing Time

Yang’s atmospheric and enigmatic paintings are cloaked in darkness and explore the emotional states of people; with scenes conveying existential thoughts and feelings of solitude. Yang frequently conceals faces and subtly captures intimate moments. By using shadow and composition to create distance between the viewer and the subject, the artist articulates a sense of isolation in what she describes as this ‘age of anxiety’.