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I was first introduced to the work of G.V. Rodriguez by my close friend—and, at the time, roommate—Bennet Schlesinger. I had just started my gallery when Bennet shared a few blurry cell phone photos of textured figures in repose, set against hued backgrounds that resembled quilts or even a Klee grid. The images were indistinct, with no clear sense of scale, but I kept asking to see them again. Eventually, I was compelled to arrange a studio visit.
Rodriguez was living in Key West, making work on the floor of his living room. Even through the still-blurry computer screen, I couldn’t fully make out the paintings, but I put together a budget to have a few shipped to me. None of them had ever been stretched—he would finish a work and roll it into a pile. When the pieces finally arrived, I distinctly remember unrolling the ratty tube and being astounded by what I saw: a practice that felt timeless, gritty, and visceral. Rodriguez and I have been working together ever since.
Bennet was the…
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Press Release
I was first introduced to the work of G.V. Rodriguez by my close friend—and, at the time, roommate—Bennet Schlesinger. I had just started my gallery when Bennet shared a few blurry cell phone photos of textured figures in repose, set against hued backgrounds that resembled quilts or even a Klee grid. The images were indistinct, with no clear sense of scale, but I kept asking to see them again. Eventually, I was compelled to arrange a studio visit.
Rodriguez was living in Key West, making work on the floor of his living room. Even through the still-blurry computer screen, I couldn’t fully make out the paintings, but I put together a budget to have a few shipped to me. None of them had ever been stretched—he would finish a work and roll it into a pile. When the pieces finally arrived, I distinctly remember unrolling the ratty tube and being astounded by what I saw: a practice that felt timeless, gritty, and visceral. Rodriguez and I have been working together ever since.
Bennet was the…
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