The first thing you notice when you walk into an exhibition of or see the works of Njideka Akunyili Crosby in person is that you are looking at works on paper. And the care and level of detail she applies to such a strong and yet delicate surface. But that is the entire point: these are tender moments and delicate subjects but done upon a resilient surface. Using acrylic, colored pencil, pastel, charcoal, and transfers on paper as her method, and the wonderful paper clip-style hanging she utilizes, these are special presentations, a nod that memories are often put down on paper and therefore the visual tapestry of our existence can be put down as such.
To inagurate their new Los Angeles space, David Zwirner presents Njideka Akunyili Crosby: Coming Back to See Through, Again, an exhibition of new and recent works from tne Nigerian-born, LA-based artist. As the gallery notes, "Bringing multiple places and temporalities into single compositions, Akunyili Crosby uses doorways, screens, posters, and windows as devices that open to other worlds, such as private interior spaces, lush external gardens, and bustling Nigerian markets. The present work shows a view of the corner of a room with an open closet, filled with clothes and personal items, and a wedding dress and other garments hanging from the door."
Paper is powerful, and yet often is thought of as a surface for studies or thoughts. In Crosby, paper is the surface of history. —Evan Pricco
