Sherie' Franssen

October 3 — November 2, 2019

Dolby Chadwick Gallery is pleased to announce Undertow, an exhibition of recent works by artist Sherié Franssen. Some writers on painting and sculpture can trace their fascination with the subject to an encounter with a specific artwork. My epiphany came when I first saw Willem de Kooning's "Excavation" (1950) at the Museum of Modern Art in New York (loaned by the Art Institute of Chicago) in the late 1960s.… read more

Red Tempest, 2017

Sherie' Franssen

September 7 — 30, 2017

Dolby Chadwick Gallery is pleased to announce an exhibition of new work by the painter Sherie’ Franssen, on view September 7 to 30. Franssen works in an abstract style that features bold, vivid colors and voluptuous, animated strokes. Without resorting to naturalism, her dynamic compositions skillfully evoke recession into space and include elements that suggest the contours of the body.… read more

Asking For Roses, 2014

Sherie' Franssen

The Gorgeous Nothings
December 11, 2014 — January 31, 2015

Dolby Chadwick Gallery is pleased to announce The Gorgeous Nothings, an exhibition of new paintings by southern California artist Sherie’ Franssen. Franssen has long been preoccupied by abstraction’s power to interrogate the contours of our world, fragmenting and reordering them so as to distill something essential about that world and our experiences within it. This body of work pushes Franssen’s interest in fragmentation—both as an aesthetic and emotional condition—to a new level.… read more

Fool for Love, 2012

Sherie' Franssen

Flesh and Blood
October 4 — 27, 2012

As an accomplished abstractionist whose saturated gestures swirl across her paintings’ surfaces with great athleticism, it is therefore surprising to learn that, within these very same paintings, it’s the presence of the figure that poses one of Franssen’s greatest challenges. Though she does not paint figures outright, figural elements act as catalysts that enliven her work with an important suggestiveness. The figures and landscapes, however, are not actually discernable, not even for Franssen: “I want the paintings to simultaneously maintain a state of movement and suspension where the viewer is left with a sense of uncertainty about what is seen. That’s the tension that interests me as a painter. I’m after a sense of in between-ness provoked by how painted gesture accumulates.” If a recognizable figural form coalesces, it not only undermines this critical tension but it also becomes a hot spot that prevents the viewer’s gaze from moving fluidly through… read more

Carnalization, 2010

Sherie' Franssen

Flesh Was The Reason
November 4 — 27, 2010

Flesh Was The Reason, the show’s title, is a nod to Willem de Kooning, who famously declared that oil paints were invented so that the artist might capture the voluptuousness of flesh, a venture heretofore unattained by less sensual media. As a potent symbol of life and its many contingencies (including love, sex and death), flesh is also the reason Franssen paints. For if painting is primarily concerned with evoking a visceral response within the viewer, as it is for Franssen, then flesh’s carnal qualities help elicit that physical engagement.… read more

High Water, 2008

Sherie' Franssen

Driving Into the Ocean
December 11, 2008 — January 31, 2009

Essay by Jonathon Keats With each painting, Franssen’s surroundings become irrelevant and the process becomes experimental. She avoids defining the work as figurative or abstract, pushing one against the other and creating new forms. For Franssen’s upcoming exhibit we will have a catalog featuring her work. In the catalog’s essay Jonathan Keats wrote: “While studying art at California State University–Long Beach, Sherie' Franssen often sketched the deceased. The dozens of drawings she produced, working for hours in the biology department's air-conditioned dissection room, taught her about the human form, yet she learned much more by studying what the cadavers lacked.… read more

An Unfinished Woman, 2005

Sherie' Franssen

Satisfaction Is Nothing
November 2 — December 2, 2006

November 2 - December 2, 2006 In these works, Franssen struggles for a visual language and the paintings chronicle her progress in depicting the world. During this quest for discovery, there is a great deal of dismantling going on which is reflected in the work. Each time Franssen paints, her surroundings become irrelevant and the process becomes experimental. Franssen avoids defining the work as figurative or abstract, pushing one against the other and creating new forms. The objective of Franssen’s paintings is to allow the viewer to find his or her own narrative.… read more