Cheryl Goldsleger: Paradox
Feb. 14, 2022 - March. 12, 2022; Artalk Feb. 14, 2022 7:30 p.m. via Zoom
Cheryl Goldsleger’s paintings, drawings and three-dimensional works are an exploration into the inescapable relationship individuals and societies have with place and location, and the myriad forces at work upon the landscape and its inhabitants. She offers her viewers unique vantage points from which they might understand these visible and invisible forces at play, suggesting that these are mutually dependent yet in constant states of flux - complex and ever-shifting.
My paintings, drawings and three-dimensional works are an exploration into the inescapable relationship individuals and societies have with place and location. When envisioning various sites, I imagine the myriad forces at work upon the landscape and its inhabitants. As socio-economic events and natural phenomena unfold, viewers are offered unique vantage points from which to understand the visible and invisible forces at play. Although the networks of relationships may not always be apparent, linear, or distinct, links exist, and connections and possibilities can be inferred. Visualizing webs of connections between positive and negative, animate and inanimate, natural and synthetic, and tranquil and turbulent, I visually suggest that these are mutually dependent yet in constant states of flux - complex and ever-shifting.
In these works, perception merges with proprioception - an awareness of our body in space - with attention to movements and changes in an evolving landscape. They are not static. Proprioception and unusual perspectives are particularly important, generating tension while fostering empathy when they coalesce. By immersing viewers in these situations, one can imagine how others feel in these conditions.
In planning my compositions, I weave together fragments that I have gathered from research, reading, travel and more, with how I react to that information and how I imagine it impacts others. My paintings develop in layers, accruing marks that, at different stages, must be selectively removed to reveal the foundation of lines and forms created in their earlier stages of development. The initial composition becomes submerged during this process as brushstrokes and color are added atop the original framework. Many more layers, additions, subtractions and revisions eventually allow the final image to emerge. In many ways, the process is a metaphor for the content.
Meteorologist Edward Lorenz stated, “When a butterfly flutters its wings in one part of the world, it can eventually cause a hurricane in another.” In my work, I strive to immerse the viewer in these places and in so doing, address these interrelationships and create an understanding of their chaotic ramifications in our increasingly smaller, interconnected global society.
Cheryl Goldsleger’s artworks in her exhibition, Paradox, continue her exploration of the relationships individuals and societies have with place and location. When envisioning various compositions, Goldsleger imagines the myriad forces at work upon a site and its inhabitants. Viewers are offered unique perspectives and are encouraged to immerse themselves in order to understand the webs of visible and invisible connections affecting our interconnected, global society.
Cheryl Goldsleger received her BFA from Philadelphia College of Art (now The University of the Arts) and her MFA from Washington University with additional study at Tyler School of Art’s program in Rome, Italy. She has an extensive exhibition record both nationally and abroad, including the European Cultural Centre’s 2019 Venice Art Biennale (Italy), The National Academy of Sciences (DC), the American Academy and Institute of Arts and Letters (NY), The Museum of Contemporary Art of Georgia (GA), the Krannert Museum (IL), the Montclair Art Museum (NJ), the North Carolina Museum of Art (NC), The Institute of Contemporary Art (PA), the Israel Museum (Israel), and the High Museum (GA).
Goldsleger is a 2020 recipient of a Porter Fleming Foundation Artist Grant and previously received two senior Artists Fellowships from the National Endowment for the Arts as well as other regional and state artist’s grants. Her work has been discussed in an extensive list of publications including Art in America, Artforum, The Hudson Review, The New York Observer, Burnaway, and ArtNet Magazine. Her international residencies at the La Napoule Foundation, France, a US/France Exchange Fellowship in Paris, and artist residencies in Italy have provided invaluable resources for her work.
Her artwork is represented in important museum collections including the Albright-Knox Gallery (NY); the Brooklyn Museum (NY); The Fogg Museum at Harvard University; the Greenville County Museum (SC); the Herbert F. Johnson Museum at Cornell University (NY); the High Museum (GA); The Israel Museum (Israel); the Museum of Modern Art, (NY); the New Orleans Museum (LA); the North Carolina Museum of Art (NC); the Tel Aviv Museum (Israel); and Yale University Art Gallery (CT); among other important public and private collections. Goldsleger’s public project Crossroads is a permanent mosaic tile floor installation in Terminal A of the Hartsfield-Jackson International Airport in Atlanta, Georgia.