In the fall of 2015, myself and my then-partner were bobbing through Chelsea for the perfunctory NYC gallery hop. Driven by that pretentious, guileless swagger of recent art school graduates, we were anxious to consume. Consume what? It’s difficult to explain that insatiable hunger. A hunger for that glimmer of a swoon, that seraphic electricity that certain artworks can inspire—in other words, that bombastic and elusive sense of meaning. My partner, an abstract painter herself and a devout planner, had prepared a hefty itinerary beginning with Ferris’ show at Mitchell-Innes & Nash.

As is true of many good painters, there’s one thing for sure that can be said about her work: it’s damn good painting! But we still find ourselves on the most bizarre terrain. For example, the controversial appointment of Brett Kavanaugh as Supreme Court Justice. Or the question that poses itself for big city dwellers who are no longer so young, but not yet old: whether that was enough city life, whether it might not be better to move to the country. Or the peculiarities of the German language.

This exhibition of paintings and drawings marks a bold and confident change in the working methods of Keltie Ferris. A significant departure has been made from the characteristically fuzzy and pixelated images taken and transformed from screens present in previous paintings. In their stead is an assertive—and risky—incursion of influence from high profile painters—George Condo, Christopher Wool, and Jonathan Lasker—but especially Wool, of whom Ferris has said, “I feel like Christopher Wool is so influential, he’s almost like our de Kooning right now. Everyone is copying him, or riffing on what he has brought to the table.”

Ferris can always be counted on to push the perimeters of her intensely optical abstract paintings, and this show finds her, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, and leaving severe spray-painted black lines as structure. 

I’ve been a fan of Keltie Ferris’s hot Day-Glo spray-painted, structured, multi-matrixed large paintings since she emerged fresh out of Yale’s MFA program in the mid-aughts. Always to be counted on for pushing the perimeters of her intensely optical abstract paintings, this show finds Ferris, now 41, experimenting, rethinking, slowing down, mixing marble dust into her oil paint, laying down stenciled polygonal shapes, wiping out areas of canvas, leaving severe spray-painted black lines as structure. The results are less lively, even, and visually arresting than her previous work, and they fit more into a tradition that might include Fiona Rae, David Story, and Guy Goodwin — artists more dependent on visible structure, clearer geometry, and deploying a menu of marks and configurations on canvas, all to lesser effect than Ferris has already reached — but I will not stop paying attention to this live wire.

In the past few years, there has been an uptick in an expanded form of painting that presents itself as a hybrid. A few current examples of this tendency include the work of Laura Owens, Keltie Ferris, Rachel Rossin, and Trudy Benson — artists who have explored multi-media paintings that rival sculpture. These works feel constructed as opposed to made, and engage with several forms of tactility, illusion, and physical depth.

In these works she literally covers herself in oil and pigment and lies on top of a human-sized sheet of paper. Depending on the print, the designs either obscure or highlight the artist’s gender. “I’ve always been looking for some sort of extremely indexical ‘I am here’ mark to put into my paintings,” she said.

The Brooklyn artist writes a new chapter in the history of painting as performance—a powerful update of Yves Klein’s infamous use of naked women as blue-dipped brushes. Ferris’s imprints on paper of her own painted form, clad in a button-down shirt and belted jeans, have a cowboyish gender fluidity. The results can evoke Warhol’s iconic Elvis series, especially when Ferris’s hands rest at her hips, as if poised at a holster. In the turquoise-and-crimson “Joan/Joni,” we see a sturdy stance and a blurred head; in “twinKtwin,” the figure is headless and symmetrical, a vision in yellow and silver. The novel self-portraits may surprise viewers who know only the artist’s rambunctious abstractions—they will doubtless earn her some new fans as well.

Unlike her predecessors, Ferris’ body prints reject an easy gendered identification of the body, suggesting a fluid and performative state of gender identity. As no two prints are exactly the same, each work represents a multitude of forms, which when displayed together, present individual facets of the artist’s identity, both autonomous and dependent. 

The artist’s subjectivity is literally inseparable from the work in Keltie Ferris’s latest exhibition of body prints, “M\A\R\C\H.” She made the twenty-eight prints in the show by dousing her body, usually clothed but sometimes nude, in oil and pressing it against paper, then covering it with pigment. While the layered pigment renders every crease and crevice of clothing and flesh, the colors also work to create vibrating relationships that define the mood of the figure they make. On one wall, fourteen prints hang in a grid, each one radiating an individual palette, often mirrored by playful titles.

Keltie Ferris's current show at Mitchell-Innes & Nash, "M\A\R\C\H," furthers the Brooklyn-based artist's experiments in exploring queer identity with recent selections from her ongoing series of body prints. Covering herself in oil and pressing her frame onto paper that she paints in beaming hues, Ferris triumphs over the surface and the very patriarchal ideology of her medium. The denim pants and shirts she dons in each print lend a distinct shape, challenging typical likenesses of the female nude. 

On view are more of the artist's ongoing series of body prints, for which she covers herself in oil paint before pressing against a canvas on the floor. 

Keltie Ferris’s disorienting, lambent abstractions—like a marriage between Albers and Oehlen, bathed in acetone—become even more physical with her current exhibition at Mitchell-Innes & Nash’s Uptown space. For this grouping of works, started in 2013, the artist made prints from her body. Creases from clothes and flesh show up in these strange and playful images, Shroud of Turin–like.

Ferris creates her “Body Prints”—which recall the works of David Hammons, Jasper Johns, and Yves Klein—by applying oil to her own body (clothed or nude) and pressing herself onto paper on the floor of her studio. A stark contrast to her well-known abstract, spray-painted works, these prints retain a sense of self-portraiture that transcends gender identity, presenting fluid, dynamic bodies that provoke questions of artmaking and representation.

Keltie Ferris may be better known these days for her digital-looking abstractions, but this show will give her body prints a proper showcase. To make them, Ferris—sometimes clothed, sometimes not—covers herself in oil and presses her body against a canvas. The result is a figure whose gender is ambiguous, with an unreadable expression to boot. Drawing on a history of body printing that includes Jasper Johns and David Hammons, Ferris explores the connection between a painter and her canvas. How much Ferris’s identity comes through in the final product is always a point of inquiry.

On the ocassion of her first East Coast museum solo, Brooklyn-based Keltie Ferris discusses her quest to produce "autonomous" body prints and abstract paintings-- exuberantly colorful works deteremined by their own formal dynamics rather than theory, market trends or aesthetic fashion.

Until recently, the best way to prove you were a serious painter was to paint unseriously: mocking the medium, the way Polke or Kippenberger did, proved that you knew the rules of the game. That moment has passed. This bravura show by a leading figure of the new-new painting finds Ferris deploying an arsenal of techniques, from spray guns to impressions of her own body, in riotous soft-edged compositions. She eschews Ab-Ex mark-making for nongestural layers of color, airy mauve or honking goldenrod, interrupted at times by flowing circuits broken into patterns suggestive of pixels. This is the work of an artist who isn’t afraid to tell painting “I love you.” Through Oct. 17.

About eight years ago Keltie Ferris burst onto the New York painting scene like a bat out of hell, that is, if you define hell as the Yale M.F.A. painting program; back then, her large Day-Glo-colored canvases were perfect crosses between hazy 1970s Color Field painting, pixilated digital space breaking up and reforming in odd-shaped plates, and painterly abstraction at the same time totally avoiding any derivative overlap with artists like Kelly Walker or Gerhard Richter.

Keltie Ferris continues to make some of the jazziest abstract paintings around.  Several are absolute knockouts, combining blurred passages of spray paint with massed rectangular patches that suggest blown-up pixels created with a computer paint program. 

 “There's a weird culture where works on paper aren't respected the same way as paintings are,” said Keltie Ferris, walking through her latest exhibition at Mitchell-Innes & Nash, which pairs vibrant mixed-media canvases with more intimate body-prints. “This show is about whether these two bodies of work, which were feeling disparate, can hang together.

At Mitchell-Innes & Nash, meanwhile, Ferris continues to stake out her position as one of today’s finest abstract painter with ever larger, ever more exuberantly colored pieces, where shifting blurs compete with crisp, thick pointillist passages. Vibrating with punchy oranges, purples, and pinks, these paintings look like aerial views of futuristic cities, acid–inspired quilts, or glitch-laced JPEGs. Frankenthaler and Gilliam are forebears, but Ferris pushes, with great aplomb, beyond those influences, forging a style that feels bracingly, thrillingly fresh, and one in which space ambiguously slips and slides.

La Estrella, [P]y[X]i[S], oRiOn: We’re caught up in the jumbled syntax of the heavens in Keltie Ferris’s dazzling show of ten paintings and six body prints, all from 2015. The constellations that lend their name to some of these canvases trace distinct forms but are composed of flickering stars whose boundaries are less clear to us down on Earth. And this is a central aspect of Ferris’s paintings, whose thin airbushed oil layers and dragged acrylic strokes build a rich color space (here, moving beyond the loose neon graffiti of her 2012–13 gallery show into deep purples, reds, ochers) that shifts in and out of focus. Are these shapes or are they impressions?

This has been a summer of women warriors: Serena Williams, Angela Merkel, Charlize Theron’s character in “Max Max: Fury Road,” and Shaye Haver and Kristen Griest, the first women to earn the United States Army’s elite Ranger designation. Now, in the final days of summer, painting’s warrior women are advancing, and Keltie Ferris is among them.

Brooklyn-based painter Keltie Ferris creates marks—smeared, sprayed and hand-painted—that solidify or dissolve into abstractions with a sense of perceptual depth that allows for multi-dimensional readings. The 38-year-old artist returns to Chelsea gallery Mitchell-Innes & Nash for her second solo exhibition (Sept. 10-Oct. 17) with several new works created during her recent trip to Los Angeles.

A former Yalie who has taken the art world by storm with her fizzy Technicolor abstractions, rising star Keltie Ferris is back with her second solo show at this gallery. The colorful exhibition will include 12 new abstract paintings that she made during a recent stay in Los Angeles, as well as several of the artist’s figurative body prints on paper. The large abstractions mix lively brushwork with bold spray painted areas, while the works on paper (inspired by the body prints of David Hammons) capture the imprint of Ms. Ferris’ clothed body with pigments and oils over a network of brushed, linear forms.

This fall, Ferris’s paintings and body prints will be shown together for the first time in her second solo at Mitchell-Innes and Nash in Chelsea. As she prepared for that exhibition (opening September 10) and two other upcoming shows at the University Art Museum in Albany and Klemm’s in Berlin, Ferris welcomed Artspace's Karen Rosenberg to her Bushwick studio to talk about her embrace of body art and what it means for her paintings.

Keltie Ferris is known for large paintings that lap, layer upon layer, into glimmering pictorial spaces; like her, they are utterly debonair. Last month she debuted Body Prints at Chapter NY, surprising new works which, as the title suggests, are impressions of her body on paper. Ferris’s paintings can also be seen in the 2014 Invitational Exhibition of Visual Arts at the American Academy of Arts and Letters (March 6 – April 12) where she received the Rosenthal Family Foundation Award in painting. She met with Jarrett Earnest in her studio to discuss bodies, abstraction, and color-feelings over beer and mint tea, respectively.

The most noticeable, and therefore notable, features of Keltie Ferris’s well-lavished paintings are their two most immediate strata: Ferris finishes off her large-scale abstractions with arrays of spray-painted dots and dashes and then returns with a brush loaded with a higher-intensity, contrasting color to lay down short, chunky strokes tightly packed in vertical, parallel arrangements around the previous layer.

One of the more difficult tasks for younger artists is to make abstract painting genuinely new—that is, sincerely and intelligently felt instead of performed (as with too much geometric work) or blurted out (as with too much AbEx-redux brushwork) like a rant in a family argument. Keltie Ferris, a 35-year-old painter born in Kentucky, educated at Yale's art school and now living in Brooklyn, has followed a not uncommon path. Uncommonly, she's managed to come up with something fairly fresh.

At some point while I was walking around the spacious exhibition space of Mitchell-Innes & Nash, it struck me that Keltie Ferris’s paintings no longer seemed to be making obvious allusions to Joan Mitchell, Frank Stella, and Piet Mondrian. This may have been due to the order in which I looked at the paintings, but as I went from one to the next I could sense her increasing confidence.

Picture Monet’s garden as a graffiti-tagged plot in Bushwick and you get some sense of the grit, bravado, and beauty of these big abstract paintings made of oil, spray paint, and pastel.

Keltie Ferris’s big, scintillating paintings recall a time a half-century ago when the introduction of a new style in abstract painting could be regarded as an event of seismic significance.

"Sometimes I think of my paintings as people," says the Brooklyn-based artist Keltie Ferris, whose solo show runs Nov. 29–Jan. 12 at Mitchell-Innes & Nash in New York.

Keltie Ferris paints with her own kind of well-informed vengeance, and it gives her abstractions a taut, slightly hard-bitten decorative verve. 

Painting is certainly not 'all dead' (see The Princess Bride). If we run with the analogy of its being mostly dead, its hope for resuscitation and direction is definitely through recontextualisation. 

He-She, 2010, by 32-year-old Louisville-born, Brooklyn-based artist Keltie Ferris dominates the stand of Horton Gallery (Sunday L.E.S.) (P94/750/850).  

Keltie Ferris--a 2006 Yale MFA who participated in the height-of-the-market, art-department-raiding exhibition "School Days" at Jack Tilton Gallery in 2006--has a lot of good ideas, even if they're not all fully developed yet. 

Armed with a palette knife and a spray gun, Keltie Ferris grapples with the idiom of gestrual abstraction in her first New York solo show, "Dear Sir or Madam."