‘Anquilosis,’ 2023. Collection of the artist; courtesy Kohn Gallery, Los Angeles and White Cube, London. Photograph by Lance Brewer.finally has room to breathe. The painter’s new Bushwick loft, just a few blocks over from her last rental, is vast with alpine walls that stretch deep and so much white space it resembles more of a gallery than a place of progress.
“I feel like this exposed nervous system,” explains Savdie, who was raised between Barranquilla, Colombia and Miami, Florida, “Especially here.” Encircling the deep turmoils of oneself is nothing new for the artist, who renders electrifyingly dreamy scenes in acrylic, oil, and beeswax paint in which fluorescent colors dance around head-scratching illusions of the eye. In these worlds, beautiful bodies melt into one another as tropical-eyed dimensions parade around her layered canvases.
“They’re my response to the stressors of living in this moment,” says Savdie, turning toward three captivating canvases that hang directly behind her. “‘I’m still digesting the legacies of oppressive power…still dealing with them in this way.” Cumulatively, the new works, which will be on view at the Whitney Museum in New York starting July 14, are a result of the overwhelming amount of attacks on civil rights that have occurred in this country over the past year, from the overturning of Roe vs.
Chaotic and seductive, the eight paintings and several works on paper are challenging to engage with and yet impossible to turn away from. To garner such an effect, Savdie spent a lot of time researching predator-prey biological forces that exist in the natural world, everything from active hunters to unseen parasites.
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