Legibility teeters on the edge of lack and excess—when we lack information about a thing, it is vague. However, as information accumulates, the risk for contradiction increases and legibility tips into ambiguity. As a Queer, cis-woman born to a black father and a white mother, Christina Quarles engages with the world from a position that is multiply situated. Her project is informed by her daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that challenge the viewer to contend with the disorganized body in a state of excess.
Christina Quarles (b. 1985 Chicago, USA) currently lives and works in Los Angeles, CA. She received an MFA from the Yale School of Art in 2016, and holds a BA from Hampshire College. Quarles was a 2016 participant at the Skowhegan School for Painting and Sculpture. She was the inaugural recipient of the 2019 Pérez Art Museum Miami Prize and in 2017 she received the Rema Hort Mann Foundation Emerging Artist Grant. Recent exhibitions include: Every Silver Lining Has its Cloud, Pond Society, Shanghai (2019); Christina Quarles, Hepworth Wakefield (2019); But I Woke Jus’ Tha Same, Regen Projects, Los Angeles (2019); Always Brightest Before Tha Dusk, Pilar Corrias, London (2018); Christina Quarles / MATRIX 271, UC Berkeley Art Museum and Pacific Film Archive, Berkeley (2018); Made in L.A., Hammer Museum, Los Angeles (2018); Trigger: Gender as a Tool and as a Weapon, New Museum, New York (2017-18); It’s Gunna Be All Right, Cause Baby, There Ain’t Nuthin’ Left, Skibum MacArthur, Los Angeles (2017); No burden as heavy, David Castillo Gallery, Miami (2017); Fictions, The Studio Museum, New York (2017); and Reconstitution, LAXART, Los Angeles (2017) among others.