Gina Litherland The Reason for the Unreason (Don Quixote) 2012 oil on Masonite 20 x 16 inches
Gina Litherland In Bloom (for Marosa di Giorgio) 2012 oil on Masonite 14 x 11 inches
Gina Litherland Don Juan in the Underworld 2012 oil on Masonite 30 x 24 inches
Gina Litherland Lupercalia 2011 oil on Masonite 24 x 30 inches
Gina Litherland The Floppy Boot Stomp (for Don Van Vliet) 2012 oil on Masonite 30 x 24 inches
Gina Litherland Crossing an Iced-Over Stream 2011 oil on Masonite 29 3/4 x 9 3/4 inches
Gina Litherland Little Red Cap 2011 oil on Masonite 18 x 24 inches
Gina Litherland Seraphine 2013 oil on Masonite 20 x 16 inches
Gina Litherland After the Deluge 2013 oil on Masonite 10 x 8 inches
Gina Litherland Wolf Alice (for Angela Carter) 2011 oil on Masonite 12 x 9 inches
Gina Litherland Retrospective Pleasures 2013 watercolor, gouache, pastel, and India ink on paper 9 x 12 inches
Gina Litherland Imaginary Foreground 2013 watercolor, gouache, pastel, and India ink on paper 9 x 12 inches
Gina Litherland Vernal Equinox 2013 watercolor, gouache, pastel, and India ink on paper 9 x 12 inches
Gina Litherland Several Winds Sweep Down 2013 watercolor, gouache, pastel, and India ink on paper 9 x 12 inches
Opening reception at the gallery Friday, May 17, 2013, from 5:00–8:00pm.
In her third solo exhibition at Corbett vs. Dempsey, Gina Litherland unveils an exemplary group of oil paintings, continuing in a magic realist vein, but introducing new and unexpected elements. Several of the works are larger in scale, still incredibly detailed and masterfully executed, but covering an expanse that allows for an intensification of the narrative component. In The Floppy Boot Stomp (For Don Van Vliet), for instance, the complex scene finds an upside down female fiddler floating over a burning boot in a cornfield, a farmer racing to the conflagration, where a goat with a human face (and a Beefheart-esque beard) glows in the light of the flame. Continuously inspired by literature, Litherland composes with great specificity, sometimes, as in the case of the title painting, The Reason for the Unreason, incorporating text directly into the work. Her painting Don Juan in the Underworld, inspired by Charles Baudelaire, features a boatman with a contemporary white t-shirt and tattoos, while ghostly women peer at Don Juan in the back of the boat, blade at rest, looking pensive, reflective. A 28-page catalog accompanies the exhibition, featuring an extensive essay by Uruguayan writer Natalia Font.