Intern’s Edition: Becky Yazdan
by Evelyn Jimenez, 2016
Recent Work: Becky Yazdan, Emilia Dubicki, and Aspasia Anos
on view now at FRED.GIAMPIETRO Gallery through August 5, 2016
I’m still relatively new to all this college bizz’. Like most undergrads whose higher education just began, I am struggling to make sense of my studies and eventually turn them into a fruitful career path. However, interning with the Fred Giampietro Gallery this summer has definitely cleared up the potentiality of my profession. The exposure to a multitude of exceptional artists, styles, and mediums has begun to refine my own artistry and consciousness while creating art.
Out of the several artists that are currently featured in the exhibition, I’ve been especially drawn to the work and process of Becky Yazdan. In my research of the artist, Yazdan largely speaks on how her pieces are informed by dreams, childhood, and general memories. Her paintings are primarily done with oil on linen or panel, varying heavily in layering, organic shape, and texture.
From Left to Right: “Rope Tow” and “Mother”
When experiencing the works in person, this is definitely apparent. Whether through palette knife grazing, or scratching it all off and beginning anew altogether, viewers are able to see the history of each painting through these built surfaces. It’s in these subtle lines, bold color blockings, and light washes of paint, the viewers are sucked into a truly mystical and ethereal world.
Detail of “Rope Tow”
Detail of “Mother”
You can try to make sense of what’s going on in the artist’s head, perhaps by reading titles and making correlations, but Yazdan encourages her viewers to create their own retrospective and recollections as well.
Yazdan’s ability to narrate and encapsulate a moment into her paintings will certainly continue to pull in audiences of all tastes, and urge them to come to their individual and unique disclosures.
From Left to Right: Becky Yazdan, Emilia Dubicki, Aspasia Anos
A brief side note unrelated to aesthetics: I highly appreciate that this exhibition showcases the talents of predominantly women because my studies, and general life passions, are centric to the empowerment of women.
It is rare that as avid gallery explorers think twice on whether or not there are enough women in a show, and can sometimes subconsciously accept men as the primary source of our exposure to art. Representation of women’s artwork (even in smaller galleries like Giampietro’s) can be extremely influential to the way we as a community, and even as a society at large, can begin to change the way we think about the image of the successful artist.