PRESS 2019-05-09T17:00:18+00:00

Painting In Parallel

Painting in Parallel by DANIEL KEHLMANN I was lucky to discover the work of Isca and Sebastian simultaneously. It struck me immediately how much they talk to each other in their work, one centering nature and the other human beings. When I look at the paintings of Isca Greenfield-Sanders I often see beautiful, expansive landscapes, sometimes inhabited by tiny human silhouettes. But rather than being lost, overwhelmed or threatened by the powers of nature, they seem protected and at home. Nature isn’t hostile to them, and they are not hostile towards nature. Rather, nature comes to the fore as the majestic healing entity, quite literally, as well as spiritually. Isca’s work seems a reminder of the old idea that we have to inhabit the world, have to be in it, a part of it, because we are of the world, even though we don’t entirely belong there. There is a ...Read more

Shade My Eyes

Isca Greenfield-Sanders, Shade My Eyes Essay "Open Window: On Isca Greenfield-Sanders's Grids" by Kris Paulsen Published to accompany Isca Greenfield-Sanders’ 2020 solo exhibition “Shade My Eyes” at Miles McEnery Gallery, New York. Contact MILES McENERY GALLERY to purchase

Open Window, 2020

Open Window: On Isca Greenfield-Sanders's Grids By KRIS PAULSEN A mountain, a beach, a turbulent sky; canoes sneaking across a lake at night; a helicopter high above treetops, caught just before leaving the frame; bathers spied on from above: These are fragments, images pulled out of context and stilled from the flow of time. Their framing, angles, and depth of field all speak the language of photography and the mathematical discipline and distancing enforced by the lens. The moments they preserve are ripe with reportage, contingency, and—simultaneously—a certain familiarity wrought by amateurism and the automation of capture. Content tethers them securely to the vernacular idioms of the documentation of middle-class family life. One can easily imagine seeing them click into view during a living-room slide show that distills the history of a life to its special moments. Yet, in this act of committing to the archive and official memory, these ...Read more

Convertible

Convertible 2019 Color spitbite aquatint, aquatint with drypoint. Paper Size: 32” x 32” Edition of 35 Purchase/Inquire For her fifth project with the press, Isca Greenfield-Sanders continues her rich dialogue between photography and painting. Her three new prints, Convertible, Pink Mountain, and Tree Tunnel, are all landscapes depicting roads below her signature horizon line. The road is a perfect means to explore her ongoing examination of photography and its relationship to the American mythos. When we engage with themes of the road, we are led to thoughts of the road west, the human drive to move to somewhere better, the promised land, leisure, escape, the past and the future. It makes me think of Lil Nas X’s song “Old Town Road” and its record-holding time at the top of the music charts. The collective nostalgia for that path or way “home” struck ...Read more

Pink Mountain

Pink Mountain 2019 Color spitbite aquatint, aquatint with drypoint. Paper Size: 32” x 32” Edition of 35 Purchase/Inquire For her fifth project with the press, Isca Greenfield-Sanders continues her rich dialogue between photography and painting. Her three new prints, Convertible, Pink Mountain, and Tree Tunnel, are all landscapes depicting roads below her signature horizon line. The road is a perfect means to explore her ongoing examination of photography and its relationship to the American mythos. When we engage with themes of the road, we are led to thoughts of the road west, the human drive to move to somewhere better, the promised land, leisure, escape, the past and the future. It makes me think of Lil Nas X’s song “Old Town Road” and its record-holding time at the top of the music charts. The collective nostalgia for that path or way “home” ...Read more

Tree Tunnel

Tree Tunnel 2019 Color spitbite aquatint, sugarlift, aquatint. Paper Size: 32” x 32” Edition of 35 Purchase/Inquire For her fifth project with the press, Isca Greenfield-Sanders continues her rich dialogue between photography and painting. Her three new prints, Convertible, Pink Mountain, and Tree Tunnel, are all landscapes depicting roads below her signature horizon line. The road is a perfect means to explore her ongoing examination of photography and its relationship to the American mythos. When we engage with themes of the road, we are led to thoughts of the road west, the human drive to move to somewhere better, the promised land, leisure, escape, the past and the future. It makes me think of Lil Nas X’s song “Old Town Road” and its record-holding time at the top of the music charts. The collective nostalgia for that path or way “home” struck ...Read more

SF Chronicle

SAN FRANCISCO CHRONICLE Datebook by Charles Desmaris | August 17, 2018 Isca Greenfield-Sanders: "Inherited Landscape":  There is a great chasm between paintings based on photographs that are intended as representations of the original subject, and paintings made to represent photographs.  The first is a socially accepted form of blatant lying, the latter an examination of the way we see and remember.  Isca Greenfield-Sanders, a New York artist who has shown often at Berggruen, is a master in the mold of the Bay Area's great Robert Bechtle at capturing the pathos of the world reduced to an entrapped image.  Oct. 18-Nov.21, 2018 Berggruen Gallery, 10 Hawthorne St., S.F. 415-781-4629.  www.berggruen.com  

Landscape Painting Now | From Pop Abstraction to New Romanticism

. Excerpt from Landscape Painting Now | From Pop Abstraction to New Romanticism ISCA GREENFIELD-SANDERS Born 1978, New York, NY, USA.  Lives in New York, NYIsca Greenfield-Sanders makes square-format landscape painting, often beach scenes, based on vintage 35mm color slides.  Her interest in the still image as a stand-in for memory led her to develop a multistep process that combines photography, watercolor, and oil.  She scans and manipulates the source image, creates a watercolor study, enlarges it to a square of thirty-five or sixty-three inches, and transfers it to a canvas using a pair grid that remains faintly visible.  The final layer is painted with oils to create depth and allow evidence of the layering beneath. Drawing on her background in visual arts and mathematics, she creates her work in series, sometimes producing up to ten images from a single slide. Greenfield-Sanders’s choices often reveal the amateurish nature of her photographic ...Read more