Sasha Pierce

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Press

2015
Sasha Pierce: Starry Night
Kelly Jazvac, Thin, Not Flat.

Starry Night IV, 2015, silkscreen on handmade Kurotani #52 kozo paper, archival cotton paper and archival mending tape, 31.25 x 23.5 inches

Starry Night IV, 2015, silkscreen on handmade Kurotani #52 kozo paper, archival cotton paper and archival mending tape, 31.25 x 23.5 inches

A connecting thread between the artworks of Sasha Pierce is literally thread: her works of the past fifteen years reference textiles, even though they are not textiles in themselves. Early works include trompe l’oeil paintings of knitted scarves, blankets, and seemingly paint-covered More

2013
Sasha Pierce: Tessellations
Kelly Jazvac, Canadian Art Online, December 17.

Watanabe Ito Soma 12 Fold, 2013, oil on linen, 23 x 18 inches

Watanabe Ito Soma 12 Fold, 2013, oil on linen, 23 x 18 inches

In the early days of the Bauhaus, scholar Sigrid Weltge-Wortmann has observed, there were few course options for women. Many arrived with intentions to study painting or architecture with contemporary masters, but upon entry learned of the gender restrictions for certain workshops. More

2013
Sasha Pierce at Jessica Bradley Projects
Murray Whyte, The Star, December 14.

Danzer 7 Fold Original, 2013, oil on linen, 23 x 18 inches

Danzer 7 Fold Original, 2013, oil on linen, 23 x 18 inches

Sasha Pierce is a painter, but that’s more a term of convenience than a proper description. Walking into Jessica Bradley Projects, a faint, acrid scent hits your nose before the works meet your eye, and that’s your first clue that painting only begins to describe the dizzying achievements that Pierce manages to coax out of her chosen medium. More

2012
Jeremy Hof and Sasha Pierce
Pete Smith, Canadian Art, Summer Issue, p.120.

Intersect, 2011, oil on linen, 21 x 16 inches

Intersect, 2011, oil on linen, 21 x 16 inches

The exploration of paint as a physical material with three-dimensional substance has fascinated artists for some time. From the discreet passages of impasto in premodernist works to the bombastic, comical employments of many contemporaries, the specificity of paint’s corporeal consistency has remained an alluring device. Over the last hundred years, many painters’ signature stamp has been embodied less frequently by scrawled, written characters than by an idiosyncratic material sensibility. More

2012
Sasha Pierce
Museum of Contemporary Canadian Art (MOCCA), trans/Form, curated by David Liss.

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