One Work: Eva Beresin’s “Fixing It”
Gracious what is getting fastened in Eva Beresin’s Fixing It (2021) is unclear. The ten-foot-huge canvas depicts one unclothed figure with rosy cheeks and crimson lips cupping the face of one more in her hand. The gesture appears to be like soft and straightforward but is embedded in a larger drama with a solid of animals and wraiths.
Utilizing piggyback on the shoulders of the fixer-lady is one more female figure who also reaches towards the alarmed face. Her skinny, elongated arm tapers to a swipe of light peach pigment because it approaches the person in need. At the level of contact, a soaring rooster with cartoonish, googly eyes and a pointy beak interposes its dripping, Prussian-blue-rimmed skim. At one more juncture in the lower upright corner, a canines intervenes, subtly but decisively inserting its curved face into the V formed by the intertwined hands of the comforted figure and one more person previous the frame. Reverse the canines, a mustard-breasted rooster stares out of the painting love the no doubt sober ogle to this peculiar tableau, significant more self-possessed than the three wrigglingly incomplete observers on the upper upright.
As in many of Beresin’s a kind of up to the moment artwork at M+B, this work elevates a neatly-diagnosed, fashionable interplay to the vaguely allegorical. Bodily dynamics amongst the players indicate refined interior entanglements. Omens abound, and no longer correct in the show’s title, “Be careful for the spirits that you name.” Beresin conjures them with frenetic strokes that register the total scene’s implicit frictions—between drab and garish; emblematic folks and totemic animals; living issues and these no longer fully there; and per chance also the gendered, servile motions linked to female caregiving and the more empowered agency of her rating brush. Beresin, born in Budapest and basically based in Vienna, has been likened, aptly, to the intense oddball James Ensor, who made floor play of darkish, interior most dangers, eliciting first fun, then a prolonged, despairing command. She, too, weds gravitas to sketch. Whatever is being tended to on this painting—with its beefy, muddled, juicy energy—stays unfixed.