Alisha Kerlin is a painter who is heavily influenced by usage sentences in dictionaries. Examples of past subject matters include the dangling carrot (or cookie), the lost solitaire game, circling vultures, a measuring tape reaching towards the horizon, and the fallen tree. She has exhibited at MoMA PS1, Zach Feuer, Real Fine Arts, La Montagne, P3Studio, and numerous other venues. Kerlin recently relocated to Las Vegas to make paintings and a cacti garden.
This painting series is defined by luminous, atmospheric grounds built from layers of color on which a single subject is rendered. The objects lean towards solitude – fallen trees, solitaire games, measuring tapes, circling vultures and dangling carrots – but the painterly periphery and titles point to the edge of a wider issue. The paintings enact, and are made sensitive to, assumed relationships between painter, painting and viewer through use of scale and titles made from wooden letters affixed to the wall. Subject matter may be repeated from painting to painting but adjustments, including changes made to account for point of view and the supposed vanishing point, lead to works that embody an autonomous reading independent of the depicted objects. A measuring tape hovers above a painterly ground in “Riding into the Sunset”, acting as a unit of comparison between the ground and the viewer’s perceived distance from there (perhaps the horizon) to here. A carrot lure dangles from a stick in a muddy situation in “In the distance she could see the clear blue sea,” and the moves in the studio are compared to the moves in a failed game of solitaire in “Two Unequal Players.”