Debra Drexler's paintings are informed both by participating in the contemporary resurgence of abstraction coming out of New York, and by living in the Post Colonial Pacific for close to three decades. She aims to take us to a state of timelessness that is primal in its humanity, disconnecting us momentarily from the mediated “now” of our electronic devices, and connecting us to a “now” that gives us a glimpse of the infinite. As a colorist, Debra Drexler provokes unexpected color relationships and creates spatial contradictions that come from those interactions. Some of her color choices reference the post digital experience with its highly saturated synthetic color. The luminosity and saturation also mirror the unique quality of light and tropical color interactions in Hawai’i, where Drexler also lives. Her work is driven by an athletic painting process, where she works back and forth between the floor and the wall. Numerous layers, which contrast areas of depth and flatness, organic and synthetic color, matt and gloss surfaces, create complex spatial interactions. Often Drexler adds an unexpected element that deconstructs and flattens and suggests another reading of space and time.

Drexler has had over thirty solo and over 100 group exhibitions in national and international venues. Recently, she has also worked with a number of galleries in New York, Brooklyn, and New Jersey, including The Dorado Project (solo, 2016), Van Der Plas Gallery (solo, 2018, 2017, and 2015; three person, 2014), Gallery Gary Giordano (two-person, 2017), and H.P. Garcia Gallery (solo, 2009, 2010)). Group exhibition venues include The Drawing Center, Exit Art, The Curator Gallery, Ground Floor Gallery, Denise Bibro, Sideshow Gallery, Stephan Stoyanov Gallery, Creon Gallery, and Art Finance Partners. She has a forthcoming three-person exhibition at Maui Arts and Cultural Center (2020). In 2017 she received strong reviews in Whitehot Magazine and Arte Fuse, and was featured on The Kalm Report.

Courtesy of Front Room Gallery