Polly Shindler

Quiet Place with Garden, 2020

Acrylic on paper

14.50h x 18.75w in
36.83h x 47.63w cm

Polly Shindler

Red Room with Umbrella Stand, 2020

Acrylic on paper

12h x 9w in
30.48h x 22.86w cm

Polly Shindler

Dressing Room with Faux Zebra Rug, 2019

acrylic on canvas

16h x 20w in
40.64h x 50.80w cm

Polly Shindler

Old Whitney Breuer, 2020

Oil on Canvas

20h x 24w in
50.80h x 60.96w cm

Polly Shindler

Room with Faux Sheepskin Rug and Painting (Sonya Delaunay), 2019

acrylic on canvas

16h x 20w in
40.64h x 50.80w cm

Polly Shindler

Ali, 2020

Acrylic on paper

6.50h x 5.50w in
16.51h x 13.97w cm

Polly Shindler

Anna, 2020

Acrylic on paper

7h x 6w in
17.78h x 15.24w cm

Polly Shindler

Danny, 2020

Acrylic on paper

7.50h x 7w in
19.05h x 17.78w cm

Polly Shindler

Doug, 2020

Acrylic on paper

8.50h x 6.50w in
21.59h x 16.51w cm

Polly Shindler

Jennifer, 2020

Acrylic on paper

7.50h x 7w in
19.05h x 17.78w cm

Polly Shindler

Kelly, 2020

Acrylic on paper

8h x 7w in
20.32h x 17.78w cm

Polly Shindler

Me, 2020

Acrylic on paper

9h x 8w in
22.86h x 20.32w cm

Polly Shindler

Mom, 2020

Acrylic on paper

10h x 8w in
25.40h x 20.32w cm

Polly Shindler

Mailtruck with Packages, 2020

cardboard, paper and acrylic paint

4h x 5.25w x 7.75d in
10.16h x 13.34w x 19.69d cm

Polly Shindler

Peapod Truck, 2020

cardboard, paper and acrylic paint

5.25h x 6w x 8.50d in
13.34h x 15.24w x 21.59d cm

Polly Shindler

Uhaul, 2020

cardboard, paper and acrylic paint

5h x 5.50w x 9d in
12.70h x 13.97w x 22.86d cm

Polly Shindler

Bathroom Sink, 2020

acrylic on canvas

40h x 30w in
101.60h x 76.20w cm

Polly Shindler

Owen Looking Out the Window, 2020

Acrylic on paper

12h x 9w in
30.48h x 22.86w cm

POLLY SHINDLER

Time Management

September 17 – October 11, 2020

Freight+Volume is excited to announce Time Management, an exhibition of recent paintings and sculptural objects by Polly Shindler. In her first showing at the gallery, the artist presents a series of domestic and interior vistas largely void of human life, along with a group of small portraits. While rendered in a loose, painterly manner evocative of Impressionism and Post-Impressionism, Shindler’s depictions of interior spaces nonetheless surge with psychic drama. Riddling and mystifying, they stand as parables of our current times, reflecting loneliness and mourning as well as the unbreakable bonds of human connection. Her series of “selfie” portraits, painted from photos of close friends and family wearing covid masks, and subsequently posted on Instagram, probes the bounds of this connection, while also suggesting an evolution in Shindler’s practice.

It is difficult to view Shindler’s paintings without inflecting elements of current life, especially at a time when many have recently been quarantined within similar spaces. Compressing the sprawl of life into confined spaces is inherently problematic, a tension channeled in her tableaux of apartments, museums, and other architectural spaces. In this way, these paintings provoke introspection and perhaps offer a cathartic release, allowing the viewer to project the exigencies of their post-outbreak life onto Shindler’s work. Underscoring the physical bounds of our built spaces, Shindler’s interiors often include views of expansive urban and scenic environments, evident in Office with Yellow Chair and Quiet Place with Garden; in Twin Loungers, the interior/exterior divide is further diffused, with signifiers of abstract art, nature, and domestic life commingled.

Notably, many of the works bear references to art history as well as Shindler’s own practice, such as Yale Art Gallery, Old Whitney Breuer, and Workplace; while they invite the viewer into the artist’s practice and pantheon of influences (as in Red Room and Umbrella Stand, a nod to Matisse), her scenes of vacant museums also query the role of fine art in social life. Her series of small portraits examine this latter aspect more closely, intertwining an artistic “routine” with the close bonds of friendship and family. Shindler includes notes describing her relationship with each subject, forming an expanded family tree accented with personal anecdotes and visual traces of memory.

Polly Shindler was born in New Haven where she lives and works as a painter/sculptor. She received her M.F.A. in Painting from Pratt Institute in 2011. Since graduating, she has shown throughout the US as well as internationally in Madrid and London. Solo shows include Retreat, at Ortega Y Gasset (Brooklyn, NY) and at the project space, Tennis Elbow, at The Journal Gallery (Brooklyn). She has an upcoming exhibit, Just What Is it….?, at Christea Roberts Gallery (London) scheduled for the start of 2021 and another at Five Points Gallery in Kent, Ct. Recently, she has shown at The Flinn Gallery (Greenwich, CT), Kaller Fine Arts (Washington, D.C.), Hashimoto Contemporary (Berkeley, CA), Able Baker Contemporary (Portland,ME) and Underdonk (Brooklyn, NY), The show at Underdonk, Still Lives, was featured in “Goings on About Town” in New Yorker Magazine in September 2018. She was granted a yearlong curatorial residency at Trestle Projects (Brooklyn) in 2015 and has completed residencies at Vermont Studio Center (2013) and The Wassaic Project (2020).

 

Gallery Hours: Wednesday-Sunday, 11am-6pm 

By appointment please RSVP with aya@freightandvolume.com