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Keltie Ferris, Facade, 2015, oil and powdered pigment on paper, 40 × 26".

Keltie Ferris

Mitchell-Innes & Nash | Chelsea

Keltie Ferris, Facade, 2015, oil and powdered pigment on paper, 40 × 26".

In 2012, Keltie Ferris tried to throw her body into painting—and it wasn’t working out. Gamely, she smeared her torso in paint and pressed herself against canvas, but she found the results embarrassingly direct and, at the same time, discomfitingly haunted by Yves Klein. Then, on a visit to “Now Dig This!,” curator Kellie Jones’s survey of postwar black art in Los Angeles at MoMA PS1, she encountered David Hammons’s body prints of the late 1960s and early ’70s. Hammons had coated himself in margarine or grease and then lay atop paper sheets, leaving a gluey residue that could be used to fix powdered pigment in place. While on a residency in Connecticut, Ferris tested the technique with vegetable oil, initially while naked and later in her studio outfit of jeans and a button-down. She debuted her body prints at Chapter NY in 2014 and in this exhibition presented them for the

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