I’m interested in how a cycle of construction, accumulation, rupture, and repair creates a complicated system. As I work, I follow detours and choose contingencies within a syntax of shapes, stripes, planes, the static of paint drips, abrasions, and stains, and trompe l’oeil supports that act like small prosthetics within the pictorial space. Each painting materializes out of a friction between intention and coincidence, much like the daily processing and deciphering required to be in the world. In a 2017 catalog essay on recent paintings, Carmen Machado, author of Her Body and Other Parties: Stories, wrote “Deborah Zlotsky’s paintings are, at their essence, a convergence: of Renaissance images and pop art, of the past and present, of science fiction and reality, of physicality and illusion.”
Deborah Zlotsky, a 2012 recipient of a NYFA Fellowship in painting, has exhibited across the country, including McKenzie Fine Art, Pierogi Gallery and the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. Her drawings are in the curated flat files of Pierogi Gallery and The Boston Drawing Project at Joseph Carroll and Sons Gallery, as well as the online-curated registry at The Drawing Center. Her work was featured in New American Paintings 2014 (Northeast edition), and has been collected by Nordstrom, Progressive Insurance, Rutgers University, the Waldorf Astoria, the New York Palace Hotel and the Albany Institute of History & Art. She has been a fellow at Yaddo, Bemis Foundation, VCCA, Ox-Bow, Millay Colony for the Arts, Ragdale Foundation and Weir Farm Art Center. Zlotsky earned a BA in Art History from Yale and an MFA in Painting and Drawing from University of Connecticut. She teaches at the Rhode Island School of Design.