Vanessa Beecroft
MASK, 2021
HEAD: GLAZED CERAMIC HEAD / BASE: REFURBISHED WOOD
VERSION 1
HEAD 21 X 14 X 9 IN / BASE 84 X 16 X 8 IN
TOTAL HEIGHT 84 IN
‘I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work to work on it. Each head is a variation on the original. This head was cracked in two during firing. I used the front half as a mask. The ceramic was glazed. I used reclaimed wood as a support and base for the mask.’ - Vanessa Beecroft
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VB.B.033, 2021
HEAD: UNPOLISHED BRONZE AND OIL PAINT / BASE: POLISHED BASALT
EDITION OF 1/3
HEAD 14.5 X 10 X 14 IN / BASE 52 X 19 X 15 IN
TOTAL HEIGHT 66.5 IN
‘In Los Angeles, far from the marbles found in Italy and from the craftsmanship of Carrara, I decided to mold the sculptures myself, with the most traditional material found in California: clay. I used clays of many colors and origins. Initially, I used them bare, without the glaze. Most recently, I glazed parts of them. I molded the bronze head with clay out of memory. This was one of the first works I ever produced outside the live casts that preceded it. Approximately 2017. The clay was molded and the wax positive was generated to produce this bronze head. Two weeks ago, I painted the bronze white with oil. The basalt rock was found in Desert Hot Springs, California. Basalt usually comes in vertical pillars. This was an unusual shape. I had the rock polished to enhance the black pigment.’ - Vanessa Beecroft
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VB.CERAMIC.020, 2021
HEAD: GLAZED CERAMIC / BASE: POLISHED BASALT
VERSION 4
HEAD 21 X 10 X 16 / BASE 59 X 19 X 19
TOTAL HEIGHT 80 IN
‘The front part of this face was glazed. The basalt rock was found in Desert Hot Springs, California. Basalt usually comes in vertical pillars, which reminded me of a Greek column. I had the basalt polished to reveal the black pigment that lies underneath the skin. I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work to on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.040, 2021
HEAD: PLASTER / BASE: REFURBISHED WOOD
EDITION 2/3
HEAD 38 X 26 X 30 IN / BASE 20 X 15.5 X 15.5 IN
TOTAL HEIGHT 58 IN
‘When I molded the heads with my hands, I felt lost, as if I was embarking on an operation that always failed in the past — the confrontation with art history. It seemed impossible to achieve, to mold a head with no sarcasm, no humour, no intention that wasn’t a pure portraiture. It seemed unnecessary and done already. Today when I see the heads and still want to make more, I think this was a legitimate act. I molded the large head with clay out of memory. This was one of a series of heads produced approximately in 2017. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. This head is a prototype in plaster. I used reclaimed wood in the tones of the head. This work is reminiscent of my Italian background.’ - Vanessa Beecroft
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VB.CERAMIC.028, 2021
HEAD: CERAMIC, GOLD LEAVES, OIL PAINT / BASE: PAINTED REFURBISHED WOOD
VERSION 4
HEAD 22 X 14 X 18 IN / BASE 53 X 24 X 24 IN
TOTAL HEIGHT 75 IN
‘The immediate action I did when I created a sculpture was to separate the head from the body, instinctively. Reminiscent of the Museo Archeologico Nazionale in Naples, Italy, and many others, I wanted to create my own collection of heads. This head comes out of memory, memory from the past, memory from my biography, or simply from mimicking yourself. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original. This head was painted with oil and gold leaves were applied on the face. I used reclaimed wood and painted it to match the tones of the head.’ - Vanessa Beecroft
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VB.CERAMIC.030, 2021
HEAD: CERAMIC, OIL PAINT / BASE: REFURBISHED WOOD
VERSION 3
HEAD 34 X 18 X 28 IN / BASE 6 X 12 X 22 IN
TOTAL HEIGHT 40 IN
‘This head was painted with blue and black oil, colors which belong to a personal palette that I use in performance, painting and sculpture. I molded the large head with clay out of memory. This was one of a series of heads produced approximately in 2017. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.044, 2018
HEAD: CERAMIC / BASE: RED GRANITE
VERSION 2
HEAD 32 X 24 X 20 IN / BASE 41 X 38 X 21 IN
TOTAL HEIGHT 73 IN
‘This head was left unglazed. I found a large red granite boulder in the California desert and had it trimmed to serve as a base for this work. I molded the large head with clay out of memory. This was one of a series of heads produced approximately in 2017. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.014, 2021
HEAD: PLASTER / BASE: PAINTED REFURBISHED WOOD
EDITION 1/3
HEAD 24 X 17 X 21 IN / BASE 56 X 24 X 24 IN
TOTAL HEIGHT 80 IN
‘This head is a prototype in plaster. I used reclaimed wood in the tones of the head. I molded the large head with clay out of memory. This was one of a series of heads produced approximately in 2017. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head.’ - Vanessa Beecroft
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VB.CERAMIC.013, 2017
HEAD: CERAMIC / BASE: ARTIST MADE WOOD PEDESTAL
HEAD 16 X 9 X 13 IN / BASE 56.5 X 27.5 X 5.5 IN
TOTAL HEIGHT 72.5 IN
‘The ceramic was painted with pigmented beeswax in a way that reminded me of my watercolors. I used reclaimed wood as a support and base for the mask, also following design reminiscent of my drawings. I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.039, 2021
HEAD: CERAMIC / BASE: REFURBISHED WOOD
VERSION 2
HEAD 10 X 12 X 12 / BASE 50.5 X 11 X 10 IN
TOTAL HEIGHT 60.5 IN
‘This head was left unglazed. I used reclaimed wood to match the texture of the ceramic. I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.012, 2021
HEAD: GLAZED CERAMIC / BASE: POLISHED BASALT
VERSION 2
HEAD 10 X 13 X 12 IN / BASE 64 X 18 X 15 IN
TOTAL HEIGHT 74 IN
‘Just before firing, I decided to remove the nose because I didn’t like it. The face was glazed accordingly. The basalt rock was found in Desert Hot Springs, California. Basalt usually comes in vertical pillars, which reminded me of a Greek column. I had the basalt polished to reveal the black pigment that lies underneath the skin. This woman is androgynous, is empowered, and is now made concrete.’ - Vanessa Beecroft
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VB.CERAMIC.045, 2018
HEAD: CERAMIC / BASE: WHITE GRANITE
VERSION 3
HEAD 31 X 24 X 18 IN / BASE 47 X 26 X 21 IN
TOTAL HEIGHT 78 IN
‘This head was left unglazed. I found a large white granite boulder in the California desert and had it trimmed to serve as a base for this work. I molded the large head with clay out of memory. This was one of a series of heads produced approximately in 2017. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.031, 2021
HEAD: BRONZE / BASE: REFURBISHED WOOD
EDITION 2/3
HEAD 23 X 12 X 15 IN / BASE 44 X 8 X 8 IN
TOTAL HEIGHT 67 IN
‘I used reclaimed wood in the tones of the head. This work is reminiscent of my Italian background. I molded the bronze head with clay out of memory. This was one of the first works I ever produced outside the live casts that preceded it. Approximately 2017. The clay was molded and the wax positive was generated to produce this bronze head.’ - Vanessa Beecroft
Back to Gallery
VB.CERAMIC.017, 2021
HEAD: GLAZED CERAMIC / BASE: REFURBISHED WOOD
VERSION 4
HEAD 12 X 10 X 12 IN / BASE 71 X 8 X 8 IN
TOTAL HEIGHT 83 IN
‘The ceramic was glazed in a way that reminds me of my watercolors. I used reclaimed wood as a support and base for the mask. I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.020, 2021
HEAD: CERAMIC / BASE: REFURBISHED WOOD
VERSION 5
HEAD 22 X 12 X 17 IN / BASE 48 X 10 X 10 IN
TOTAL HEIGHT 70 IN
‘This head was left unglazed. I used reclaimed wood to match the texture of the ceramic. I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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VB.CERAMIC.041, 2021
HEAD: GLAZED CERAMIC / BASE: POLISHED BASALT
VERSION 2
HEAD 17 X 11 X 14 IN / BASE 48 X 18 X 16 IN
TOTAL HEIGHT 65 IN
‘The front part of this face was glazed. The transparency of the glaze creates tones like those found in a painting. The basalt rock was found in Desert Hot Springs, California. Basalt usually comes in vertical pillars, which reminded me of a Greek column. I had the basalt polished to reveal the black pigment that lies underneath the skin. I molded this head with clay out of memory. This was one of a series of heads produced approximately in 2016. The clay was molded and the plaster positive was generated to produce a second mold in plaster which we used to make a ceramic head. Each head comes out of the mold for me to work on it. Each head is a variation on the original.’ - Vanessa Beecroft
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UNTITLED, 2019
OIL AND CHARCOAL ON LINEN
48 X 36 X 2.25 IN
‘The form and color come from my small drawings reference. I executed them instinctively, a series, one following the other as in a performance; one painting after the other with the spontaneity and immediacy of the small drawings. I realized this painting among a series of others in the summer of 2019 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2018
OIL AND CHARCOAL ON LINEN, HAND-MADE WOOD FRAME
150.625 X 93.25 X 2.25 IN
‘This work is a trade union between my early drawings, the performances, the sculptures... it is a way to portray the woman of Vanessa Beecroft. This type of female belongs to the present time but also belongs to the time of art history — from Francesco Laurana to the Quattrocento painting tradition to the tradition of a watercolor. I realized this painting among a series of others in the summer of 2018 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2017
OIL ON LINEN
60 X 50.5 X 2 IN
‘I realized this painting among a series of others in the summer of 2017 when I locked myself in the studio and painted them all at once. The colors belong to a personal palette that I use in performances, paintings, and sculptures. Beige, white, blacks, earth colors and skin tones. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2019
OIL ON CANVAS
72 X 96 X 2.25 IN
‘I realized this painting among a series of others in the summer of 2019 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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YELLOW DRESS, 2019
OIL AND CHARCOAL ON LINEN
96 X 72 X 2.25 IN
‘The male gaze is an enemy in the performances, is the audience the performance fights against. The male gaze in this work is equivalent to the female gaze because the work isn’t there to arouse or please any desire that isn’t intellectual. I realized this painting among a series of others in the summer of 2019 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2019
OIL AND CHARCOAL ON LINEN
84.5 X 72 X 2.25 IN
‘I realized this painting among a series of others in the summer of 2019 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2018
OIL ON CANVAS
78 X 135 X 2 IN
‘I realized this painting among a series of others in the summer of 2018 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2019
OIL AND CHARCOAL ON LINEN
103 X 83 X 2.25 IN
‘This work is an extension of my performances. The memory of the women in the performances, and the memory of myself is present. I realized this painting among a series of others in the summer of 2019 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2018
OIL AND CHARCOAL ON LINEN
103 X 83 X 1.5 IN
‘I realized this painting among a series of others in the summer of 2018 when I locked myself in the studio and painted them all at once. The colors belong to a personal palette that I use in performances, paintings, and sculptures. Beige, white, earth colors and skin tones. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2018
OIL AND CHARCOAL ON LINEN
103 X 83 X 1.5 IN
‘I realized this painting among a series of others in the summer of 2018 when I locked myself in the studio and painted them all at once. The colors belong to a personal palette that I use in performances, paintings, and sculptures. Beige, white, earth colors and skin tones. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2018
OIL AND CHARCOAL ON LINEN
103 X 83 X 1.5 IN
‘I realized this painting among a series of others in the summer of 2018 when I locked myself in the studio and painted them all at once. The colors belong to a personal palette that I use in performances, paintings, and sculptures. Beige, white, earth colors and skin tones. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2018
OIL AND CHARCOAL ON LINEN
84.5 X 72 X 2 IN
‘I realized this painting among a series of others in the summer of 2018 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
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UNTITLED, 2017
OIL ON LINEN
96.25 X 186.375 X 2.5 IN
‘I wanted to freely express issues of sensuality, sexuality, and gestures I did not express in the previous work. I wanted to avoid shame and to do whatever I felt, to be careless. Looking back I still feel shy when looking at this work, but I do not regret doing it as most of my work shames me. I realized this painting among a series of others in the summer of 2017 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me. ’ - Vanessa Beecroft
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UNTITLED, 2019
OIL ON CANVAS
104 X 132 X 2 IN
‘I realized this painting among a series of others in the summer of 2019 when I locked myself in the studio and painted them all at once. I did this painting with the same gesture as I do my small watercolors and drawings. I had to go past the shame of showing the body nude, dissected, and exposed in a way that was not classical. I didn’t mix the colors but used them directly from the tube of my favorite Dutch brand. The paintings reveal what the performances couldn’t; The expression of the girl’s psychology. Painted all in oil and on unprimed linen or canvas. The scale of this work is very large. It comes as a natural size to me.’ - Vanessa Beecroft
Back to Gallery