Cadence Giersbach lives and works in New York, NY. She received an MFA from Rutgers University and a BA from Vassar College and attended the Skowhegan School of Painting and Sculpture. Giersbach received a Pollock Krasner Foundation Award and a New York Foundation for the Arts (NYFA) Award. She has exhibited at Roebling Hall (Brooklyn, NY), Sandroni Rey (Venice, CA), Venetia Kapernekas (New York, NY), Deitch Projects (New York, NY), White Columns (New York, NY), Wave Hill (Bronx, NY), Brooklyn Museum of Art (Brooklyn, NY), Museo Rufino Tamayo (Mexico City, MX), Galerie Asbæk (Copenhagen, DK), Galerie Faurschou (Copenhagen, DK), and the Kunsthalle Nürnberg (Nürnberg, DE). Her work has been commissioned by Arts for Transit, MTA (Brooklyn, NY), the Town of Montclair (Montclair, NJ), Percent for Art, (Queens, NY), the Palladium Co., (West Palm Beach, FL) Public Collections include the Albright-Knox, Buffalo, NY, Harvard Business School, Boston, MA, and the RISD Museum, Providence, RI. Her work has been reviewed in The New Yorker, The New York Times, The Los Angeles Times, and Artforum Online.
I began painting on unstretched muslin and building papier mâché sculptures during the first summer of covid. I was living in the country, isolated, and supplies were limited. That summer, I also began to make a garden.
Now on most warm days, you can find me in the garden digging, moving rocks, germinating seeds, and observing insects or in the studio building and painting, using the languages of abstraction and decoration to describe things seen, felt, and experienced in the world outdoors. Because of the impact of materials on the landscape that inspires me, I aim to make things that are unique, beautiful, and strange with the humblest of materials.
I paint on loose un-stretched, unprimed muslin, which undulates like a landscape, the surface of the water, or a leaf. Sometimes, I fold the paint-soaked fabric to self-print an area, glop on loose gestural brushstrokes, or draw lines. I focus on parts or layers, revising and adding to increase variety and invention. To expand the rectangle and increase the physicality of the work, I sew on elements like piping, tubes, straps, and fabric shapes. Painted muslin, rope, and thread become large paintings that fold into small packets.
In my sculpture, geometric and abstract shapes and motifs arise from memory. Thoughts about pods, stones, wings, antennae, and webs become ceramics and painted papier mâché. While developing the relationship between form and surface, I exaggerate to intensify the work’s emotional tenor. My intention is always to animate an object, to coax it into expressing the abstract story it contains.