Through erotically charged imagery, often in extreme close-up, Minter addresses the commodification of women’s bodies, particularly in the worlds of fashion, beauty and pornography. Her hyper-realism mimics the aesthetics of these industries, yet her compositions also feature dirt, stray hairs, visible pores, bodily fluids or other ‘imperfections’ usually airbrushed away in commercial imagery. 

Since the mid-1990s, Minter’s process has begun with elaborate photoshoots, often featuring Minter herself, to create the source material for her paintings, which are mostly rendered in enamel on metal to further reinforce a high-gloss finish. The original painting Big Red emerged from a photoshoot of fellow artist Wangechi Mutu, who sought out portraits to document her pregnancy. 

As Minter recalls, “I wasn’t thinking of Wangechi Mutu as the artist. She was a model who was fearless. I didn’t know that when she smiled that her teeth would be gold! We were just playing. I didn’t think of it as Wangechi at all. It works like that with everybody I shoot.”

The artist’s first and only limited edition print, Untitled Interior presents one of Pecis’ iconic interior sill lifes replete with vivid color and intricate pattern. Untitled Interior has been commissioned to coincide with Phaidon’s landmark survey Great Women Painters, in which Pecis is a featured artist. Proceeds from the sale of this print will benefit Students Run LA and the MCA Chicago’s Women Artists Initiative.

Pecis is known for her signature style of representational paintings that updates the historical genres of domestic interior, landscape, and still life— and are among the most sought-after works by a contemporary artist working today. The human figure is generally absent from Pecis’s scenes, which exude personality and display the lovingly curated minutiae of life. When seen through Pecis’ eyes, familiar interiors and landscapes of Los Angeles encourage us to celebrate the quiet power and vibrant beauty of the everyday. Artnet recently praised her as “the David Hockney of our time, setting the art world a flutter” with sold out shows and soaring auction prices.

An avid runner, Pecis likens her artistic practice to training for long-distance races. “I like to think of painting as an endurance activity,” she says. “Each painting in itself is a series of small movements that add up to a finished piece. And the continuation of the practice in painting is a journey with ebbs and flows and growth between paintings and shows. I relate this to endurance running, where the efforts of the thousands of miles that are put in before a race are summed up.”