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Patricia Orpilla is a visual artist who uses an interdisciplinary process to create paintings, prints, and textiles. Her recent work uses print to explore the indexical relationship of weaving to language. By working in an interdisciplinary format, she draws relationships between systems that are materially or metaphorically interdependent. She is interested in the potential of material metaphors to engage questions about authorship, industry, and ideology. She references various archives for fingerprints of these narratives — weaving patterns, religious texts, or ethnographer’s notes become her source material. Recently, she was a resident artist at the Museum of Arts and Design. She completed a fellowship in the summer of 2021 at the Beinecke Library where she researched ephemera such as maps and religious texts related to late 19th-century U.S.-Philippines relations. She received her MFA from Yale School of Art in painting and printmaking. She has recently shown her work at Jeffrey Deitch, Kiosk Gallery, Front/Space, Beggar’s Table, Vulpes Bastille, and H&R Block Artspace. She is from Kansas City, MO and lives and works in Brooklyn, NY.

Professional Services

Professional Services: Visual Commissioned Work, Professional Development, Teaching Artist | Presenter, Writer

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Price: $

PHOTOS

  • Gallery 1 - Patricia Orpilla
  • Gallery 2 - Patricia Orpilla
  • Foliage

VIDEOS

  • The Length of an Arc, the Closing of a Loop: An installation of analog animations by Daniel Chase projected onto sculptural paintings by Patricia Graham. February 2, 2018 Beggar's Table, KCMO Clear and dense, the sunlight decelerates as it passes through the window pane, dispersing aquamarine which becomes indigo, and as one reorients their position within the room, the sun, outside, arches above the horizon. Nearby plants are thrown onto the walls, the refracted light silhouetting versions of the leaves in different intensities of grey, camouflaged against the wall paint, the hues running together. Objects farther away from the window, closer to the sun, burn across the east-facing walls as harder to detect, grey echoes, made almost intangible by the motion dazzle of the wind. At the meeting point between floor and wall, the light bends into irregular polygons, convex corners becoming excited curtains, and by the alignment of the edges, concave planes are presented and concealed. The thinning antumbras shrink pale diamonds and arrange shadow rendezvouses at day’s end. The sun is gone, and the light instead breaks the darkness, moving at closer manmade speeds. -Daniel Chase, 2018

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