Lisa Brice, Untitled, 2019, oil on tracing paper, 16 1⁄2 × 11 5⁄8".

Lisa Brice, Untitled, 2019, oil on tracing paper, 16 1⁄2 × 11 5⁄8".

Lisa Brice

Stephen Friedman Gallery

Among my favorite paintings by Marlene Dumas is The Painter, 1994, which shows a serious-faced little girl—the artist’s daughter, then five or six—whose hands are completely covered in paint: blue for the right hand, red for the left. I’d like to think that girl could have grown up to be Lisa Brice—like Dumas, a South African by birth, though she now lives in London. True, the age isn’t right (Brice was born in 1968, not the late 1980s), but Brice clearly doesn’t mind getting her hand dirty with blue, the dominant (and sometimes only) color in most of the twenty works on view in her recent exhibition (all Untitled, 2019). And she has a flair for red, too, though what Brice shares most of all with the young protagonist of Dumas’s canvas may be a definite association of the act of painting with a state of nudity—an unashamed manifestation of self.

Dumas’s influence seems quite direct in ten

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