Gracelee Lawrence (*1989) Her work deals with relationships between food, the body, and technology. It is born in the transfigurative space between physical and digital reality, exploring the ways in which bodies are both gendered and metaphorically fragmented in terms of capitalist-driven material desires, physical sustenance, and the digital spaces we inhabit.
Gracelee has attended twenty residencies in the US and abroad and opened her second solo show in New York at Postmasters in June 2022. She is currently an Assistant Professor of Sculpture at the University at Albany, SUNY. Recent exhibitions include Marinaro Gallery (New York, NY), Postmasters Gallery (New York, NY), Atlanta Contemporary (Atlanta, GA), Kavi Gupta Gallery (Chicago, IL), HEADLINE Gallery (Vancouver, Canada), and more. She has installed large-scale outdoor sculptures at the Upstate Immersive (Poughkeepsie, NY), Wave Hill (Bronx, NY), Museum of Museums (Seattle, WA), Franconia Sculpture Park (Shafer, MN), Mary Sky (Hancock, VT), and others. In 2017 she returned from 15 months as a Visiting Professor in the Multidisciplinary Department of Art at Chiang Mai University and assistant to artist Araya Rasdjarmrearnsook on a Luce Scholars Fellowship. She is a member of the collective MATERIAL GIRLS, a recipient of the 2021-22 Individual Artist DEC Grant, a 2019 Jerome Fellow at Franconia Sculpture Park, a 2016-17 Luce Scholars Fellow, a recipient of the 2015 UMLAUF Prize, 2013 Eyes Got It Prize, and the 2011-12 Ella Fountain Pratt Emerging Artist Grant. Press for her work includes The New Yorker, ArtNet, Hyperallergic, Artspace, Beautiful/Decay, and MAAKE Magazine, among others.
Collected Trot: Gracelee Lawrence – December 15, 2022 – January 28, 2023
Exhibiting for the first time in Europe, New York-based artist Gracelee Lawrence is presenting a series of her pioneering 3D-printed sculptures. NY Times critic Roberta Smith recently wrote that “Lawrence ingenuously exploits her small 3-D printers and described her work as “mouthwatering”, “gorgeous” and “covetable.” Working from scans of her own body and various plant and fruit forms, these digital files render the organic into works of startling originality.