Cologne

Anna Gaskell, Fixed Prey, 2019, vinyl paint and pencil on paper, 22 1⁄2 × 29 7⁄8".

Anna Gaskell, Fixed Prey, 2019, vinyl paint and pencil on paper, 22 1⁄2 × 29 7⁄8".

Anna Gaskell

Galerie Gisela Capitain

Anna Gaskell first became known in the late 1990s for enigmatic photos of young women and girls—images that imply a narrative yet elude attempts to give them a meaningful interpretation beyond their evident but nonspecific allusions to Alice in Wonderland. The throughline to these pictures is almost impossible to describe but has to do with what one might call their latent pedophilia-tainted aura, which makes them at once seductive and disturbing.

Gaskell’s most recent works, all made in 2019, are drawings that likewise have a disturbing effect although one can’t immediately say why. They, too, show young women and girls, but this time their origin is in the world of American advertising of the 1940s and ’50s, a time when the image of women was still a pure projection of male desires and fantasies undisturbed by any feminist concerns. The artist paints the figures using fields of opaque

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