![]() Gordon has been showing her often-larger-than-life paintings in galleries and art fairs since she was in her third year at the Rhode Island School of Design (RISD). I’m changing someone’s life? It’s so weird.” "People come up to me and tell me I’m their role model. “The heartbreak really helped my work,” she says. During the relationship, I thought a lot about how the person I was seeing was white and how that was very validating for me.” She was devastated by the breakup, but she doesn’t regret it. ![]() “It felt very necessary to paint these feelings, how upset and disappointed I was by someone I truly trusted. “I had emotions I’ve never dealt with before,” she tells me. The reference is to Botticelli’s The Birth of Venus, but the vision is pure Gordon, and there’s no escaping the pain in her eyes. (The painting was recently in a group show at the Rudolph Tegners Museum outside of Copenhagen, alongside works by more established artists like Cecily Brown, Jenna Gribbon, and Sanford Biggers.) Nude and vulnerable, the young, porcelain-skinned woman in the painting is sitting on an isolated rock in the middle of the sea. Like Froth, her most recent painting, is all about the breakup of her “first-ever dating experience.” Gordon, who is half white, half Asian, queer, and 24, had never been in a relationship before. Sometimes there’s a drought-an idea drought-where I don’t really have anything going on, and other times I’m super emotionally charged and manic, and I need to paint something.” That something is always herself. “If something bad happens, I need to paint it. “I’m definitely a little like Taylor Swift,” she says, laughing. Looking at Sasha Gordon’s big full-bodied paintings, it’s impossible not to feel the emotion of what’s happening in her life.
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