Singer’s paintings portray fictional tableaux of stylised figures occupying generalised spaces. At first glance, her characterisations adopt aspects of aesthetic principles used by constructivists and cubist artists to represent volume and form. Contemporary media and everyday objects intermingle with these stylised conventions, producing glimpses of alternate timelines. The protagonists of these paintings are dancers and artists, seen in familiar poses and interactions in their studios or nightclubs. Singer’s technique distances her work from the polemic political ideologies of early 20th-century avant-garde movements, and grounds her more squarely in the present, and interestingly, the very recent past.
Initially, the works defy an easy reading of the methodology employed. Singer’s use of SketchUp, a fairly recent and accessible 3D-modeling software tool, suggests a digital technique is used to produce the works but upon closer examination this process is more painstaking – the paintings are made using masking and sprayed paint. Her reduction of figures to pure geometric forms bathed in studio light or the neon lights of the club further distilled into monochrome, combined with a blankness of expression, instil a peculiar sense of humour into these dynamic scenes.
Singer’s recent solo exhibitions include: Frieze Frame, New York, NY (2014), having previously exhibited in ‘The Artists’, Kraupa-Tuskany Zeidler, Berlin, Germany. She has exhibited in numerous group shows, such as ‘Freak Out’, Greene Naftali, New York, (2013) ‘The Fifth Age of Glass’, Et al Projects, New York, USA (2011); ‘Arcadian Night’, (curated by Kalika Farmer and Andrea Hill) Race Brook Lodge, Sheffield, MA (2010).
Avery Singer (b. 1987) lives and works in New York.