Kristine Moran: The Boss, The Queen, The Secretary and The Henchman

June 9 – July 23, 2016

Continuing to give form and colour to the complexities of intimate relationships and personal moments of great change, Kristine Moran’s most recent paintings draw on her observations of the social dynamics at play within a childhood clique. The title of the exhibition refers to specific roles assigned to each individual in a young girl’s ensemble, foreshadowing what later may become the toxic moving parts of a governing body or cult. Fascinating to Moran is these children’s ability, at such a young age, to self-assemble, to recognize dominance and submission, and then to exercise this duality with fervour and intention.

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  • Installation 5
  • Installation 4
  • Installation of Kristine Moran at Daniel Faria Gallery
  • Taking Sides (installation)
  • Taking Sides (detail)
  • Installation of Kristine Moran at Daniel Faria Gallery
  • Defecter, 2016
  • Three Figures Advancing, 2016
  • Installation of Kristine Moran at Daniel Faria Gallery
  • The Boss, The Queen, The Secretary and The Henchman, 2016
  • The Boss (detail)
  • The Queen (detail)
  • Installation of Kristine Moran at Daniel Faria Gallery
  • Installation of Kristine Moran at Daniel Faria Gallery
  • Installation of Kristine Moran at Daniel Faria Gallery
  • Melee, 2016
  • Melee (detail), 2016
  • Taking Sides, 2016
  • Falling Out, 2016
  • The Lookout, 2016
  • Meeting, 2016
  • Undercover Night, 2016
  • In Hiding, 2016

 

Here, William Golding’s classic novel Lord of the Flies (1954) functions as a reference point from which Moran begins to reflect on authority and bureaucracy as essential to survival. However, as Golding’s novel exposes, the will to survive often requires that someone or something else does not. Moran’s ambiguous protagonists are set in a formerly uninhabited tropical island, much like the one occupied by Golding’s boys. Menacing figures are caught behind sensuous leaves, while more vulnerable figures are reaching out, bending over and looking upward for signs of other life, for possible ways out. Turning to 60s and 70s Colour Field painting, Moran utilizes colour and repetition to establish possible hierarchies, moments where power shifts into powerlessness, and vice versa.

Kristine Moran lives and works in Brooklyn, New York. She received her MFA from Hunter College in New York after attaining her BFA at the Ontario College of Art and Design in Toronto. Her work has been exhibited in numerous group shows, including Rogue Element at RH+ (Istanbul), Power of Selections at Western Exhibitions (Chicago), The Big Gift: Calgary Celebrates Contemporary Art at Glenbow Museum (Calgary) and Natalie Karg Gallery (New York). Moran’s work was featured in Phaidon’s Vitamin P2, and her work has been acquired by several international public collections, including Royal Bank of Canada, Bank of Montreal, TD Bank Financial Group, and Saatchi Collection (London, U.K.).