Produced by Exhibition A, 2023
Archival pigment print on Hahnemuhle museum etching paper
Print: 63.5 x 82 cm | 25 x 32.3 in
Archival pigment print on Hahnemuhle museum etching paper
Print: 63.5 x 82 cm | 25 x 32.3 in
Frame: 69.8 x 89 x 3.2 cm | 27.5 x 35 x 1.25 in
Edition 3 of 50 + 5AP + 4PP
Signed and numbered by the artist
From the producer:
Working within the established genre of the female nude, Danielle Orchard has commanded attention of contemporary art audiences by introducing her distinctly present-day ethos to a historically imbalanced lineage. Female figures in Orchard’s scenes are featured in various states of repose within haven-like atmospheres, yet there is a disquietude, an unease that seems discordant alongside symbols of leisure. Environments are tilted or fractured, Orchard’s nods to analytic cubism, enveloping the characters in such a way that the psychological space of a scene creates kinesis within the stillness. Unlike Manet’s Olympia or Valzquez’s Venus at her Mirror, Orchard’s subjects retain their dimensional humanity, intimately aware of the behemoth task of being seen and the justified ambivalence that follows.
Pictorial references and cinematographic allusions abound in Orchard’s oeuvre. In Morning Rituals, a print edition of 50, we wander into a theatrical scene, ambiguous and contrasted — a lone figure unclothed and outstretched, suspended in contemplation, surrounded by gendered accessories like suit ties and manicured nails. If our morning rituals are the forms in which we prepare to greet the world, Orchard provides ripe continuums to consider within the natural artifice of her work.
Edition 3 of 50 + 5AP + 4PP
Signed and numbered by the artist
From the producer:
Working within the established genre of the female nude, Danielle Orchard has commanded attention of contemporary art audiences by introducing her distinctly present-day ethos to a historically imbalanced lineage. Female figures in Orchard’s scenes are featured in various states of repose within haven-like atmospheres, yet there is a disquietude, an unease that seems discordant alongside symbols of leisure. Environments are tilted or fractured, Orchard’s nods to analytic cubism, enveloping the characters in such a way that the psychological space of a scene creates kinesis within the stillness. Unlike Manet’s Olympia or Valzquez’s Venus at her Mirror, Orchard’s subjects retain their dimensional humanity, intimately aware of the behemoth task of being seen and the justified ambivalence that follows.
Pictorial references and cinematographic allusions abound in Orchard’s oeuvre. In Morning Rituals, a print edition of 50, we wander into a theatrical scene, ambiguous and contrasted — a lone figure unclothed and outstretched, suspended in contemplation, surrounded by gendered accessories like suit ties and manicured nails. If our morning rituals are the forms in which we prepare to greet the world, Orchard provides ripe continuums to consider within the natural artifice of her work.