Jan Avgikos notes/Spring 2017
"Walking into Gabrielle’s studio is like walking into a fiercely exotic, techno-futurist time zone – somewhere between here and there – that borrows from science fiction and ethno-anthropology on its way to over-whelming the viewer with sheer scale and material diversity. Whether in big muscular paintings, delicate etchings, digital photographs, or even gelatin sculptures, the futuristic and the oddly antiquated intertwine and energize to bedazzle the viewer with a sustained color-infused sensual overload. Motifs are shared, whether animal bones or intertwining wires, and are often arranged as contemporary 'detritus paisleys' in whose profusion we delight.
"There is also plenty of undertow in the work. The paintings, activated by heroic scale, scream with energy: color is keyed to a constant high pitch, tidal waves of gestural imagery roar across their emboldened surfaces. The repetition of forms—things as simple as old square nails or metal staples—march in unison across surfaces and suggest an arcane hieroglyphics, like a cultural language gone extinct.
"The sublime is front and center in Gabrielle’s work. It’s informed by Romantic painting, by Abstract Expressionism, by CGI cinema—oh, and let’s not forget 'real life' dilemmas that rim our existence and threaten widespread extinctions. Don’t look now, but Gabrielle makes art for the Anthropocene—annihilation anyone?"