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Ginny Casey’s paintings feature decrepit interiors full of objects like chisels, woodcutters, pulleys and in-process sculptures. In Casey’s theatre of the absurd, these objects are distorted, engorged and disproportioned where the restrictions of logic and time are abandoned to the surreal. For Casey, the concept of space is subjective; each painting challenges the notion of linear space as a way to provoke preconceived perceptions. Multiple trap doors, staircases that lead to nowhere, and ladders that extend to windows into the abyss all contribute to a spatial disorientation. The paintings encourage open interpretation. For Casey, “It’s like trying to see in the dark… it’s all intuitive.” Starting from drawings of individual objects, Casey redraws and collages these together, building relationships, narratives, and tension into what becomes the finished composition. Her paintings do not begin with preconceived notions of a finished product; rather, a story develops, emerging from her subconscious. Casey draws upon psychoanalysis, free-association, dreams and the unconscious to make her paintings.

Born in Niskayuna, NY (1981), Ginny Casey received her MFA from the Rhode Island School of Design in Providence. Casey has had recent solo exhibitions at Nino Mier Gallery (2019), Half Gallery, New York (2018), Nino Mier Gallery, Los Angeles (2017), and a two-person exhibition with Jessi Reaves at the Institute for Contemporary Art, Philadelphia (2017). Recent group exhibitions include "King Dogs Never Grow Old: Curated by Brooke Wise," Diane Rosenstein Gallery (2020), “Early 21st Century Art,” Almine Rech Gallery, London (2018), “SEED,” Paul Kasmin Gallery, New York (2018), “Cliché,” Almine Rech Gallery, New York (2018), and “Sitting Still,” Bravin Lee Programs, New York (2017). The artist lives and works in Brooklyn, NY.