"Recently, Mundt's practice has undergone a decisive evolution, with the physical life of painting now at its center. Confronting what she perceives as a loosening of collective historical memory, Mundt has re-engaged with canonical genres - landscape, still life, the figure and most recently, abstraction - as structural anchors through which to question how contemporary life might still resonate within inherited forms."
"Paul Cézanne's A Modern Olympia (c. 1873-74) serves as a pivotal point of reference: its mercurial figure recurs throughout, splintered and reassembled through a choreography of transfer, pressure, and erasure. Alongside, a second body of work draws from the promotional poster for the 1999 film American Beauty, with its iconic image of a nude woman nestled in a bed of roses."
Company Gallery presents Divorce Paintings, Jeanette Mundt's third solo exhibition with the gallery. Mundt centers the physical life of painting and addresses a perceived loosening of collective historical memory by re-engaging with canonical genres — landscape, still life, the figure, and abstraction — as structural anchors. One series references Paul Cézanne's A Modern Olympia, reconfiguring its mercurial figure through transfer, pressure, and erasure. Another series borrows the American Beauty poster's nude in roses, collapsing sacred and profane registers. Lush romantic tones, dense tactile layers, and material strategies inspired by Joan Mitchell and Sam Gilliam probe movement, duration, and the preservation of gesture in the painting's skin.
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