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Blue Slip, 2019

Blue Slip, 2019
Oil on linen
50 x 35 inches

Upskirt Intermission, 2019

Upskirt Intermission, 2019
Oil on linen
50 x 36 inches

Silver Heat, 2019 Oil on Iinen

Silver Heat, 2019
Oil on Iinen
36 x 22 1/2 inches

Low Hanging Fruit, 2019

Low Hanging Fruit, 2019
Oil on linen
36 x 24 inches

Mother Orchid, 2020

Mother Orchid, 2020
Oil on linen
48 x 31 1/2 inches

Lime, 2019 Oil on linen

Lime, 2019
Oil on linen
48 x 36 inches

Dracaena, 2020 Oil on linen

Dracaena, 2020
Oil on linen
48 x 31 1/2 Inches

Press Release

DC Moore Gallery is pleased to announce its representation of New York-based artist Theresa Daddezio with her debut inaugural solo exhibition with the gallery, Altum Corpus, featuring new paintings on view from January 7 – 30.

Daddezio explores optics, nature, and movement within a language of painting, as she considers the histories of Color Field painting and biomorphic abstraction. Drawing from a background in dance and music, she creates organic shapes referencing movements of the body rendered within systematized applications of color and linework. A vibratory, sonic quality of expanding and compressing tubular entities shift with various interactions of movement.

Altum Corpus, which translates from Latin as both “sea/tide” and “high/body,” evokes a semantic ambiguity between the words and their associations to the organic and illusionary. Embodying time and place, Daddezio creates optical waves of flatness, depth, vibrancy, and subtlety. Her use of continuous line expresses an interconnectedness of the infinitely divergent yet finitely bound. 

Daddezio began this body of work after visiting the ruins of a Soviet bathhouse in Tskaltubo, Georgia in 2019. Once a famed site of rehabilitation in abundant natural springs, the structures now lay overgrown with plants, ponds, and detritus. The petal-shaped baths—resembling both mechanical gears and the daisy flower—remain eroded and remnants of the recessed human forms they once contained. Here Daddezio contemplated the human impulse to build a reflection in nature, as well as the subsequent disappearance and eventual re-growth of forms in these constructed spaces.

In these paintings, Daddezio evokes a similarly emergent psychological site of contradictions  – forms that evoke the human body, flora, and earthen strata emerge, recede, and overlap. Warm terrene tones diverge with more artificially-associated palettes. Vertical orientations and compressed edges frame undulating planes of space that build and simultaneously negate form. By heightening the visual sensation through these compositional tensions, Daddezio constructs an arena where the tangibility of the present entangles layers of memory.

In 2019, Theresa Daddezio was included in an exhibition Three at DC Moore Gallery, alongside Beverly Acha and Jim Gaylord. Daddezio is an artist and curator based in Brooklyn, NY. She received an MFA from Hunter College in Visual Art and BFA at Purchase College in  Painting and  Drawing.  Other selected exhibitions include Carbona Sunrise, Transmitter Gallery, Brooklyn, NY; A Mind of Their Own, Pentimenti Gallery, Philadelphia, PA; Known: Unknown, New York Studio School,  New  York,  NYC; Abstraction in the  21st  Century, the  University of Hawai’i, Manoa; Rhythms, Rhymes, Repetitions, Studio Kura, Itoshima, Japan. Her work will be featured in the upcoming East Coast New American Painting edition #152 and has been featured in Art Maze, Hyperallergic, The Queens Ledger, Bushwick Daily, and The L Magazine. Her paintings were recently included in Phong Bui’s Curator’s Pick at Artfare, as well as featured in MAAKE Mag and Coastal Post. She participated in the Wassaic Residency Project in upstate NY.

This exhibition runs concurrently with FIVE: Janet Fish, Mark Innerst, Joyce Kozloff, Claire Sherman, Jimmy Wright.

For press inquiries contact Sabeena Khosla.

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