Sasha Gordon

Sasha Gordon was born in 1998 to a Polish American Jewish father and a Korean mother. She grew up in Somers, New York and expressed interest in art at an early age. When she was four, she was encouraged by her mother who set up a table with crayons, colored pencils, and paper.[2] At five, she began taking classes at a local art center.[3]

Gordon entered the Rhode Island School of Design (RISD) in 2016. There she soon experimented with hyperrealistic paintings of the human face.[4] During her sophomore year, she began shifting towards painting self-portraits that explored the complexities of her identity. This caught the attention of gallerist Matthew Brown, who included one of Gordon's paintings in a group show at his LA gallery in 2019 while she was still at RISD, and the following year gave Gordon her first solo show, which drew favorable reviews from critics and led to her first museum acquisition by ICA Miami.[2][5]

Over the following years, Gordon's career gained momentum, leading ArtNet to describe her early success as "head-spinning".[6] In 2022, one of her large self-portraits was shown at the Rudolph Tegners Museum outside Copenhagen alongside older established artists like Cecily Brown and Jenna Gribbon. New American Paintings named Gordon's painting My Friend Will Be Me their #1 2022 "Painting We Just Can't Stop Thinking About".[7] Gordon's profile in Cultured Magazine was one of the publication's ten "Most Read" stories in 2022.[8]

In 2023, her painting Campfire was included in the Hammer Museum’s show Together in Time.[9] Also that year, visitors to the Baltimore Museum of Art voted Gordon's painting Mood Ring as one of their top five "most loved" works in the museum.[10] Her work is the subject of a forthcoming solo show at the Institute of Contemporary Art, Miami.[2]

Gordon attended the 2023 Met Gala as a guest of Balenciaga, wearing an outfit designed for the occasion by Elena Velez.[11]

Gordon lives in Brooklyn, New York and works from her studio there.[12]

Gordon's work often revisits and rewrites memories of her childhood by inserting herself, often in multiples, to lay claim to the right to occupy space as a biracial, queer woman.[13][14] She responds to the fetishization of the Asian female body by depicting empowering self-portraits of her (often nude) body.[15] Her everyday scenes of joy and distress fill large canvases with vibrant, rich cool tones and exacting technical detail.[14] Her figures' eyes often are unnaturally glossy, their skin soft and plasticky, illustrating the alienation and disconnection in a white, heteronormative space while also offering a surreal escape.[14] In this way, art-making offers Gordon a therapeutic processing of vulnerable memories.[16]

Of the nudity in her work, Gordon says

Sometimes clothing can add too much context to the narrative and I want the characters to be freer from assumptions. They’re most vulnerable when they’re nude. So much body language can be shown through skin and the folds, and there’s a different type of movement that I’m interested in. And there’s obviously more intimacy in those scenes.[17]

Gordon found it difficult to relate to many of the artists and artworks she was exposed to in her youth because the artists and their subject matter were white and therefore did not match her East Asian appearance. She discovered the work of Liu Wei, which empowered her and inspired her to make paintings of people that she connects with racially and emotionally. Other artists that Gordon cites as impacting her work are Kerry James Marshall, Nicole Eisenman, Dana Shutz, and Cheyenne Julien.[4]

• Almost a Very Rare Thing (2022), Cantor Arts Center at Stanford University, Stanford, California[19]
• Mood Ring (2022) Baltimore Museum of Art, Baltimore, Maryland[10][20]
• Campfire (2021), Hammer Museum, Los Angeles, California[21]
• Mirror (2021), The Museum of Fine Arts Houston, Houston, Texas[22]
• Concert Mistress (2021), ICA Miami, Miami, Florida[23]

• Yue Minjun