Whitney Turetzky takes antique, usually anonymous photographs, and alters them, using historic iconography, photo transfers, bold acrylic paint, embroidery thread, digital modification, and vintage collaged ephemera to layer a visual story of “feminine grandeur,” in which women are glorified and magnified into spiritual superstars, or, as she puts it, “badass haloed goddesses.” But far from flashy comic art, the result is a moving depiction of normal women, most nameless, celebrated in a rich, textured, contemporary but empathetic way.
Following the opening reception, the exhibit will be on display through November 25.
Whitney Turetzky takes antique, usually anonymous photographs, and alters them, using historic iconography, photo transfers, bold acrylic paint, embroidery thread, digital modification, and vintage collaged ephemera to layer a visual story of “feminine grandeur,” in which women are glorified and magnified into spiritual superstars, or, as she puts it, “badass haloed goddesses.” But far from flashy comic art, the result is a moving depiction of normal women, most nameless, celebrated in a rich, textured, contemporary but empathetic way.
Following the opening reception, the exhibit will be on display through November 25.
Whitney Turetzky takes antique, usually anonymous photographs, and alters them, using historic iconography, photo transfers, bold acrylic paint, embroidery thread, digital modification, and vintage collaged ephemera to layer a visual story of “feminine grandeur,” in which women are glorified and magnified into spiritual superstars, or, as she puts it, “badass haloed goddesses.” But far from flashy comic art, the result is a moving depiction of normal women, most nameless, celebrated in a rich, textured, contemporary but empathetic way.
Following the opening reception, the exhibit will be on display through November 25.
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