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Katarina Janeckova Walshe Feeding Circle (Sketch for a Sculpture)

 

Medium: Ink on paper


Dimensions: 7.5” x 6.5” [19cm x 16.5cm] + frame


50% of the proceeds from works sold will benefit a local non-profit organization that focuses on addressing priority needs (including access to education, nutrition, clean water and healthcare) for Mexican families trapped by acute poverty.

 

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Her Clique’s inaugural benefit solo show of Katarina Janeckova Walshe titled QUISIERA ALIMENTARLOS A TODOS | I WOULD LIKE TO FEED YOU ALL hosted alongside of the region’s most prominent art fair Zona Maco, features over 40 works by the Slovak born, and Texas based multimedia artist. Janeckova Walshe transformed a French Colonial villa situated in Mexico City’s hip and bohemian Roma Norte, into a captivating, interactive exhibition of her works stemming from large scale paintings to small series of sketches and drawings.

50% of the proceeds from works sold will benefit a local non-profit organization that focuses on addressing priority needs (including access to education, nutrition, clean water and healthcare) for Mexican families trapped by acute poverty.

“For me the best case scenario is for my paintings’ final destination to be either in a museum for everyone to enjoy, or in a home, where they can be explored daily by those who feel connected to them. This is why I was so drawn to creating this show in a villa, as it has given me the opportunity to intertwine stories of my drawings, objects and paintings with familiar domestic backdrops, almost adopting the house as my own. Our homes are part of who we are, they are our private spaces that often feel sacred. Opening our home up to people and letting them in creates a special, intimate bond. This is the kind of experience I would hope to create with my show in Mexico City,” commented Katarina Janeckova Walshe.

Katarina Janeckova Walshe’s (b. 1988) visceral and fantastical works explore notions of sexuality and gender dynamics through a cast of self-assured nude women going about their days in sun-baked hillscapes and interior spaces delineated by striated and gridded patterns. Janeckova Walshe places many of her languid subjects in opposition to or explicit companionship with bears that act as stand-ins for men, while other women attend to phallic cacti or simultaneously breastfeed babies and adult men. Her relaxed and free-flowing style makes use of ink and pencil as well as dry-brushed oil paint. Janeckova Walshe has exhibited in New York, Mexico City, Taipei, Berlin, Bratislava, Prague, Amsterdam, and Rome, among others.