Now Showing

Eleven is delighted to present My Flash On You, an exhibition of new works by Natasha Law.


Natasha Law’s vibrant blocks of gloss paint and descriptive lines characterise her svelte female figures. Often in an act of discarding clothing, her works beguilingly capture ephemeral moments of both vulnerability and intimacy. Tousled hair, the curve of a hip, or discarding clothing, the works allude to the privacy of domestic spaces and relies on the viewer’s own voyeuristic fascination to draw them into her intriguing vignettes.


The act of putting on or taking off our clothes could not be more ordinary. We do it at least twice a day, every day – probably fifty thousand times over a lifetime. And yet to catch sight of someone else engaged in the same undertaking can be an extraordinarily intimate thing.


In My Flash On You, women are either fully absorbed in the task at hand or lost in their own private reverie. They are at their most vulnerable – alone, half-nude, aloof, unprepared for prying eyes – though to redress the balance their faces are almost always turned away, hidden by falling hair or an astutely placed elbow, even cut out of the frame altogether.


Though partially exposed, something of these women’s essence remains a mystery – tantalisingly so. Partly that’s because they are half-dressed (artists discovered long ago that a partly clothed body – en déshabillé – is much more alluring than one with no clothing at all). In this sense, Law’s images connect with, without looking directly at, paintings made at the turn of the 19th century by artists such as Edgar Degas, Henri de Toulouse Lautrec and Pierre Bonnard, who, like Law, often painted their subjects looking away from the viewer, suppressing background detail so as to focus the viewer's gaze.


In look, though, her paintings have much more of Pop art about them than the Belle Epoque, possessing the linear vigour of Roy Lichtenstein or Patrick Caulfield, for instance, and the vibrancy of Tom Wesselmann's cut-outs.


Gloss paint and pencil on aluminium and on paper – her ingredients are simple and constant, though somehow Law never repeats herself. The compositions have a beautifully liquid quality and feel as effortless and spontaneous as music. If each body is delicately captured (faint pencil marks are discernible among the minuscule gradations of white), the squeakily smooth, boiled sweet-coloured background against which each is outlined is shiny as a car bonnet.


To make the paintings on aluminium, Law first sketches her models in situ, before projecting the chosen image onto a large aluminium sheet. Gloss paint is applied in stages over several weeks, each layer sanded before the next is applied.


Natasha Law was born in 1970. She lives and works in London. Her work features in many prestigious collections and she has exhibited extensively worldwide including in the UK, USA, Japan, Hong Kong and India.



Changing In Blue And Green, 2022 - Natasha Law Changing In Pink And Coral, 2022 - Natasha Law Stay For A While. Coral On Red,  2022 - Natasha Law  Stay For A While. Pink On Black, 2022 - Natasha Law Black With Pinks, 2022 - Natasha Law Blue And Black, 2022 - Natasha LawCoral Out Of Plum, 2022 - Natasha Law Green With Pink Detail, 2022 - Natasha Law Pink From Green, 2022 - Natasha Law Red From Pink, 2022 - Natasha Law Yellow Out Of Pink , 2022 - Natasha Law Installation at Eleven, June 2022 - Natasha Law