Biography/Statement

Drexler maintains studios in both New York and Oahu, and her work is informed by her unique bi-coastal experience. Her work translates the inner experience into outer form through a vigorous athletic painterly process. Drexler has had 28 solo exhibits and over 100 group exhibitions at galleries and museums in New York, Hawai’i, Australia, Berlin and across the states. Her most recent exhibitions were the November, 2014 three-person show “Red, Yellow, Orange”, and the December 2014-January 2015 group exhibit “Paper Trail” both at Van Der Plas Gallery, New York, NY. Recent New York solo exhibits include: Pool Art Fair, Chelsea Hotel Blue Mountain Gallery, HP Garcia Gallery and Java Studios Gallery. In addition, Drexler has exhibited in group shows in New York including The Drawing Center, Denise Bibro Gallery, Exit Art, Art Finance Partners, and Stephan Stoyanov Gallery, and Sideshow Gallery. Reviews include Artweek, New York Arts Magazine, and New Art Examiner. She is also a Professor of Drawing and Painting at the University of Hawai’i ,and is co-curating with Liam Davis, “New, New York” a survey of contemporary abstract paining for the University of Hawai’i Gallery in October, 2015. She has curated exhibits in New York including at The Lab of Rogersmith Arts, as well as in Hawai’i and Australia.

My work is particularly concerned with issues of abstraction in contemporary art and its ability to make the invisible visible. My paintings have explored interruptions, which bend the concept of time and space. Working with abstract space in a manner that is reminiscent of the space of the Baroque I often add a disruptive element, which deconstructs and flattenss and suggests another reading of space.

My work has gradually transitioned from the narrative to move into an investigation of pure paint. “Gauguin’s Zombie” my first one-person show in New York at White Box Annex (2005) toured from Honolulu Museum. By the time I exhibited “Shadow Play” at HP Garcia Gallery, New York in 2009, the archetypal narrative elements of shadow and tree were overtaken by the quality of paint itself. In my work I often glaze up to 30 layers of paint, creating both depth and luminosity. A review of “Shadow Play” by Michael Carter for A Gathering of Tribes states: “Like the most powerful abstract paintings of the last century, reproductions can only provide a crude chart of her stratagem; the luminosity of the oils themselves, along with their deft application can really only be truly appreciated in person.” Paint speaks its own language.

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