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The mood of each painting oscillates between an almost defiant pride and melancholy, often within the same picture. Standing before Mujer II (BanBan’s favorite, she said during the studio visit), I felt a sense of deep familiarity, even serenity. The woman’s eyes are cast just past the viewer. Her left arm is lifted, covering her chest: protective but not quite demure. I noticed a red circle atop the raised arm. “What’s that?” I asked. It’s her nipple, poking through flesh and bone, hidden no longer—provocative after all.Artist Cristina BanBan in her Brooklyn studio. Photo: Albert Font While BanBan would not call the figures self-portraits, many of them are more or less based on herself—“I use my own body because that is the image I have,” she says—so her use of color is often what distinguishes the works in this series. Dominant shades of sky blue (Mujer I, Mujeres X) or ruby red (Mujeres I, Mujeres IV) naturally make for different atmospheres. Swirling accents of kelly green or marigold delight in their contrast, as do little flecks of impasto on lips or knuckles. The use of color—or the lack of it—on the eyes can rattle, comfort, entice.

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All the works in the exhibition were made this year, mostly in Bushwick, save for three that she made in Paris. Hanging above a fireplace on the gallery’s third floor, Cabeza I. Paris is an outlier in its close crop on a face (hence the name, which translates to “head”) and in its size; at under two feet tall, it is significantly smaller than the other works. Still, there is an emotional and technical cohesion among all 15 paintings. The brushwork is physical, gestural, with visible strokes of vibrant color. BanBan says she throws her body into the process, moving instinctually after she’s spent time sketching out her ideas on paper. (“Drawing is with the mind. Painting is with the gut,” she says.) Though mostly nude, BanBan’s figures are sometimes graced by a modern accessory—a red flower behind the ear (as in Mujeres X, recalling a similar adornment in Manet’s Olympia), a green barrette, or a striped pair of underwear.

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The loose, gestural style of the works in “Mujeres” is a sort of peeling back of BanBan’s earlier work, which saw figures still exaggerated in scale but more filled-in, and often placed in visible contexts like a subway car or a home’s interior. This work is more rough-hewn, with traces of charcoal outline and empty bits of canvas peeking through. Her matured style represents an intentional shift, BanBan says. “I am always evolving. I feel so trapped if it’s always the same thing.”BanBan has been practicing art in some form since she was five years old, taking art classes every day as part of an after-school program where she eventually also taught. She studied fine art at the University of Barcelona before moving to London, where her art career took off. Over the past five years she has shown in group and solo shows throughout Europe and in New York, and earlier this year her debut with Perrotin gallery in Paris sold out. “Mujeres” marks her first exhibition with Skarstedt.

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