In Duennebier’s latest body of work, beauty is always tempered by something unsettling, be it a waiting spider web, a slimy pile of meat, or an encroaching cave with a narrow exit. Her Hothouse Bouquet paintings are both ethereal and peculiar, with squashed flowers and fluorescent pink insects, while in another still life she pairs diaphanous blossoms with piles of glistening dead fish. The abandoned wreaths evoke mourning, but in the absence of mourner or mourned the scenes become a strange melodrama. Her published works include Gender and Power in Rural Greece (Princeton 1986), In a Different Place: Pilgri-mage, Gender and Politics at a Greek Island Shrine (Princeton 1995), Run for the Wall: Remembering Vietnam on a Motorcycle Pilgrimage (with Raymond Micha-lowski, 2001) and Pilgrimage and Healing (co-edited with Michael Winkelman, 2005). How youre going to implement processing is. For example, if your app is accepting image uploads, you can generate a predefined set of of thumbnails when the image is attached to a record, or you can have thumbnails generated dynamically as theyre needed. Fascinated with the idea of out-of-place memorials, Duennebier began painting delicate floral wreaths, creating mysterious shrines within claustrophobic caves or deserted landscapes. Shrine allows you to process attached files eagerly or on-the-fly. While Duennebier’s previous solo exhibition View into the Fertile Country expanded her scope to landscape for the first time, in Floral Hex she turns her focus to interiority, both in terms of location and psychology. In Floral Hex, the beauty of her subject matter is instead complicated by the emotional underpinnings of the paintings, which present scenes of isolation and incongruity. This new work marks a departure from the pseudoscientific fascination of her earlier work with biologic forms and processes such as rotting and the growth of mold. She never wants to provide her viewer with too much pleasure her previous bodies of work seamlessly meld the beautiful with the grotesque, offering a viewing experience defined by both attraction and revulsion. The decision to address a subject so traditionally associated with beauty and femininity was a difficult one for Duennebier. In her latest body of work, Duennebier draws on intense study of seventeenth century still life painter Abraham Mignon to delve into a subject matter that is historically ubiquitous but new to Duennebier – flowers.
However, the true pleasure of experiencing her paintings comes from closer observation, which reveals the remarkable ways that Duennebier learns from and transforms those historical influences to create something truly contemporary and compelling. A casual glance at her work will immediately suggest various historical references, from the Old Masters and Dutch still lifes to Rococo landscapes. Nicole Duennebier’s signature approach to painting is grounded in her appreciation for the history of art.
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