Dust Proof, first solo exhibition of Gal Schindler at Galerie Sultana,
Living Mirrors, James Fuentes, New York, 2022
Sapling Galery, London,
"The Earth has music for those who listen", GroupShow
16/09 - 15/10/2022
Solo exhibition at Ginny on Frederick, 2022
"My Reflection of You", The Perimeter, London, UK, 2022
2020 - Onlooking, Kupfer gallery, London, UK
Liste Art Fair 2023. Basel, Swistzerland
Gal Schindler (B. in 1993, Tel Aviv ) lives and works in London. She has been studying at The Slade School of Fine Arts, London and then at the Royal College of Art in Painting. Recent shows include After Image at MAMOTH, London; Onlooking at KUPFER, London; Limb-Loosener at Daisy's Room Gallery and les danses nocturnes with eastcontemporary, Entrevaux/Cote d'Azur, France. The work previously received press coverage in ELEPHANT Magazine and Émergent Magazine.
Gal’s father regularly sends photos of newly blooming flowers from his garden, or from the streets of Tel Aviv, reminding her of the vivid nature back home. She resides in London, and the incongruousness of her two lives trickle through her recent oil paintings, which all feature plants she’s stumbled across in England, or in Israel, each composed against solitary figures emerging from coloured panoramas. They are stridently posing women, all plucked from her imagination. In previous paintings her subjects are depicted daydreaming or contemplative, but here each meets the viewer with piercing eyes, demanding us to look back. Gal is drawn to presenting curious characteristics as she is for handling varying viscosities of paint – revelling when details are more ambiguous. She describes the women as ‘amorphous’, undefined in both their posture or expression, which Gal will often ruminate on by looking at Edvard Munch’s painting of a mermaid in repose, the flittering strokes similar to the ones she’ll concoct with brushes. While painting, Gal makes brimming digital folders of paintings and film stills she’s accrued online, describing the practice as a process of ‘lingering’ with visual references before paint directs her elsewhere.