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Genieve Figgis, Olympia (after Édouard Manet), 2018, acrylic on canvas, 31 × 39".

Genieve Figgis

Half Gallery

Genieve Figgis, Olympia (after Édouard Manet), 2018, acrylic on canvas, 31 × 39".

No one else coaxes paint to do the delicious, devilish things that Genieve Figgis does. The Irish artist tends to work quickly, in wet-on-wet acrylic, to tease ghoulish aristocrats, disfigured nymphs, and molten gods out of spindly trickles, ecstatic blurs, and swollen pools of pigment. She encourages the medium’s capricious whims and outright rebellions, wrangling these unwieldy effects into legible scenes. One imagines her skimming the contents of a witch’s cauldron and laying the swirling, sinister visions down on canvas. 

Figgis has primarily shown two bodies of work since she rocketed to international fame four years ago, following a serendipitous Twitter exchange with the American artist Richard Prince: riffs on historic paintings, particularly those of Rococo frill masters François Boucher and Jean-Honoré Fragonard, and spooky depictions of the Edwardian aristocracy, in

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