Patricia Treib

Patricia Treib was born in 1979 in Saginaw, Michigan, and lives and works in Brooklyn, New York. Treib's paintings are composed around sensuous details, absences, and shifts in perspective. While her work draws on far-ranging references – the outline of a sleeve in a Piero della Francesca fresco, the contours of a 35 mm camera, a cornice, a ribbon – Treib's true subject is the process of looking, through which she discovers new relationships while dismantling what is merely recognisable. The space in between forms become primary motifs, peripheral elements become central presences, shapes suggest calligraphic gestures. She works at an immersive scale - with nearly all her paintings executed in the span of a single day - the same composition serving numerous works, which as a result share a sibling relationship, however differing in their colouring, the subtle inflections of their features, or the expression of their elements.

Treib received a Guggenheim Foundation Fellowship (2020), was shortlisted for the Jean-Francois Prat Prize (2018) and has participated in residencies at ARCH Athens (2024); the American Academy in Rome (2017), Dora Maar House (2014) and MacDowell (2013). Recent solo exhibitions include Icon Arms, ARCH Athens, Greece (2024); Enfold, Kate MacGarry, London (2024); Undulations, Galerie Nordenhake, Stockholm (2023); Arm Measures, Bureau, New York (2020); At the Same Time, Galería Marta Cervera, Madrid (2016) and Mobile Sleeve, Kate MacGarry, London (2015). 

Recent group exhibitions include Friends in a Field: Conversations with Raoul De Keyser, Mu.ZEE, Ostend, Belgium (2022); City Prince/sses, Palais de Tokyo, Paris (2019) and Quicktime, Rosenwald-Wolf Gallery, The University of Arts, Philadelphia (2017). Treib received an MFA from Columbia University and a BFA from The School of the Art Institute of Chicago. Her work has been written about in ArtForum, The New Yorker, Art in America, The New York Times and Bomb Magazine. Treib's first monograph was published in 2020 and features an essay by Joanna Fiduccia and an interview conducted by the poet and novelist Ben Lerner.