• Margot Bergman
    Totem
    2010
    acrylic on canvasboard
    16 x 12 inches

  • Margot Bergman
    Blondie
    2009
    acrylic on canvas
    24 x 18 inches

  • Margot Bergman
    Cuddles
    2009
    acrylic on canvas
    17 1/2 x 11 3/4 inches

  • Margot Bergman
    Crystal
    2010
    acrylic on canvas
    20 x 16 inches

  • Margot Bergman
    Hedda
    2009
    acrylic on panel
    24 x 17 3/4 inches

  • Margot Bergman
    Strange Fruit
    2009
    acrylic on canvasboard
    20 x 16 inches

  • Margot Bergman
    Juana
    2009
    acrylic on canvas
    24 x 18 inches

  • Margot Bergman
    Chucky
    2009
    acrylic on canvasboard
    20 x 16 inches

  • Margot Bergman
    Room
    2010
    acrylic and collage on canvas
    22 x 30 inches

  • Margot Bergman
    Gertrude II
    2010
    acrylic on canvasboard
    12 x 16 inches

  • Margot Bergman
    Willis
    2009
    acrylic on canvas
    10 x 14 inches

  • Margot Bergman
    Peony
    2008
    acrylic on canvasboard
    16 x 12 inches

  • Margot Bergman
    Dogtown
    2009
    acrylic on canvasboard
    16 x 20 inches

  • Margot Bergman
    The Mask
    2010
    acrylic on canvas
    20 x 16 inches

  • Margot Bergman
    Grama’s Gift
    2009
    acrylic on canvas
    10 x 13 inches

  • Margot Bergman
    Red Hot 1
    2010
    ceramic
    6 1/4 x 4 x 5 1/2 inches

  • Margot Bergman
    Red Hot 2
    2010
    ceramic
    5 1/2 x 6 x 8 1/2 inches

  • Margot Bergman
    Red Hot 3
    2010
    ceramic
    7 x 6 x 4 1/2 inches

  • Margot Bergman
    Red Hot 4
    2010
    ceramic
    4 x 6 x 7 inches

  • Margot Bergman
    Red Hot 5
    2010
    ceramic
    10 x 5 1/2 x 6 3/4 inches

  • Installation view

  • Installation view


PRESS RELEASE

 

Corbett vs. Dempsey is pleased to present Degree of Separation, its third solo exhibition of new work by Margot Bergman.

Bergman’s latest work extends her longstanding practice of collaborative paintings made with unknown partners. Using found canvases that she carefully hunts down and studies, Bergman then makes an intervention in the pre-exisiting image, sometimes quite minor, in other cases almost wholesale, transforming the piece into something completely new and unexpected. The results often have an eerie melancholic feel, sometimes gilded with a manic pop edge – in this case amplified by her choice of imagery, which in many of these new portraits is focused on a flop-eared creature. Rather than superimposing an image on top of the found ones, in this body of work Bergman often masks off parts of them, creating a kind of face-window in which the features (eyes, nose, mouth) are revealed as part of the underlying scene. The paintings’ cuddly surface is undercut by a layer of menace or unease, a sense of something being askew. This sensibility is also evident in Bergman’s new sculptural objects, which are being debuted in this exhibition. Uniformly bright red – hence their title “Red Hots” – these creatures strike poses that are difficult to pin down emotionally, but reside somewhere in the rift between cute and terrifying. Finally, a selection of Bergman’s penetrating miniature works on paper, which are also executed on found materials, is presented in the context of the larger canvases and sculptures.