In just a few years, Sasha Gordon has established herself as one of the most compelling and challenging artists to watch.
, and Sanford Biggers.) Nude and vulnerable, the young, porcelain-skinned woman in the painting is sitting on an isolated rock in the middle of the sea. The reference is to Botticelli’sbut the vision is pure Gordon, and there’s no escaping the pain in her eyes. “I had emotions I’ve never dealt with before,” she tells me. “It felt very necessary to paint these feelings, how upset and disappointed I was by someone I truly trusted.
Gordon’s self-portraits have a secret alchemy that sets them off from the current avalanche of figurative art rooted in identity politics. Her main ingredient is oil paint, never acrylic—building up through many layers to a lush translucency.
Gordon has been showing her often-larger-than-life paintings in galleries and art fairs since she was in her third year at the Rhode Island School of Design . Last spring, Jeffrey Deitch gave Gordon her first solo show in New York, called “
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