A first-timer at this year’s Dallas Art Fair is Dallas’
Gracie hotly anticipated 12.26, a gallery opening fall 2019 in the Design District.
Owned by sisters Hannah and Hilary Fagadau, 12.26’s program is oriented to emerging and mid-career artists,
and for its inaugural visit to the fair the gallery will show three artists from its roster, including Los Angeles–based Gracie DeVito.
While DeVito is primarily a painter, her practice also involves performance and sculpture, all interwoven facets of her artistic persona.
Dallas Art Fair will mark the first time DeVito’s work has been shown in the city.
At the 12.26 booth, DeVito will exhibit two or three of her larger paintings as well as some medium-sized works,
“things that kinda happen in the studio simultaneously,” as she puts it, while she’s painting bigger pieces.
All of the works are recent, the larger paintings inspired by pieces she completed in November before the NADA Art Fair, where she was shown by Athens, Georgia–based gallery Tif Sigfrids.
“When I finished that body of work it culminated in this one painting that felt very different to me,” DeVito says,
“and I quickly laid down a lot of information on old canvases so that when I got back to the studio I’d be ready to get working on them.
It’s exciting— it’s really new work which has gotten me into a mode of painting that feels really fresh and new and still uncertain to me.”
Some of the paintings headed to Dallas are oil and acrylic on canvas,
although one is augmented with sand dating back to when DeVito was working en plein air on the beach.
Her oil on cotton paintings have a curious DNA, as the artist explains: “The ones on cotton are all reused painting rags that I keep as I work.
I wipe my brushes on them and I move them around the studio. Sometimes I’ll start a painting on them and then reuse them to rub paintings down,
and I look at them and I think they’re going to be a painting, but they may not end up being a painting until months later.”
The cotton works wind up in irregular, non-rectangular frames, built specifically to accommodate their proprietary dimensions. DeVito likens the results to sculptures on a wall.
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