Lorraine Peltz’s paintings in The Deep End unabashedly confronts the sometimes conflicting ideas of beauty, pleasure, love, and loss particularly in relation to women – as she has done for her over 30 year career as an artist. But in this case the work takes on new dimensions, including a no-holds-barred attitude toward paint and subject matter.
We are offered in this exhibition two bodies of work, related but distinct. In one series, where the paintings are titled Electric Bouquet, Peltz looks to her 17th century Dutch predecessors, specifically female flower still life painters, such as Rachel Ruysch, and riffs on those paintings, reconfiguring them using a contemporary vernacular and a range of painting techniques – including spray paint. The second group of paintings, with more descriptive titles, such as Dark Paradise, Another Enchanted Evening, or And It Was All Yellow take some of those elements from the floral paintings and join them with Peltz’s own iconography – such as the speech bubble and red lips, and create a playful but poignant narrative of love and desire. Again, diving into a deep end of emotive and provocative imagery she evokes a field of playful painted events yielding deep reflections on memory, place, beauty, and joy.