About The Artist
Grace Cadence combines her traditional watercolor practice with a magazine cut-out collage subject. She cuts apart the images that surround us daily, that train us on notions of fashion and beauty. The finished works are either paintings or collages which layer abstract fragments to become a whole. Grace explains, "the interesting thing about figurative abstraction is the possibility for everyone to see it differently. A lot of my work defies straight interpretations but there is a unifying element of beauty and nature in all of them." Grace works from her living room art studio in Brooklyn, which transforms into a sea of paper after a few hours of work. When she's not painting, Grace loves trying recipes from around the world, exploring new places to eat, and teaching art locally.
I respond to the idea of beauty, memory and time; through which the combination of these ideas constitutes a complex relationship between personal and historical narratives in my work. I gather most of my collage materials from women’s fashion magazines. Apart from their ubiquity, I use these resources because they are among the most looked to devices fork the governing of desire and notions of feminine beauty. Often, the all too familiar. Using collage, I create a rupture by collapsing the idea of perfection, reversing the gaze and dismantling its latent hierarchy. In my collage works, I cut, paste and assemble abstract fragments that often seem to not fit together, into some kind of cohesive form. The result is a fractured image that maintains the feeling that one or more living entities are present. They are complex composites, layered atop one another to become “whole.” Fluctuating between painting, collage, and prints, I attempt to reconcile the photographic truth of the images and my understanding of the pictures through the organic elements of paint. I seek to externalize the image by painstakingly create its archetype. I work with both the materials of papers and paint while employing mechanical hands in conveying illusionistic space. In this search for a new form, I’m reflecting a mental portrait as a woman where I strive to detach myself from the burden to carry out unattainable beauty and perfection that comes from the socio-political agenda of class hierarchy and the acclaimed modern history of painting in the west.
Master of Arts, 2010