Our current geological era is one giant crime scene and we’re all personally involved. It’s overwhelming at times, human nature in conflict with the natural world, a complex thrill and sorrow. I’m interested in harmony, has it ever existed?
— Fawn Rogers
Fawn Rogers, born in Portland, Oregon in 1974, is a Los Angeles-based contemporary artist. Through painting, photography, video, and sculptural installation, Rogers addresses the idea of power as the currency of human nature and the conflict with the natural world. In a geological epoch characterized by pandemic, climate crises, and rampant human rights abuses, Rogers dives into the seemingly contradictory forces at play within the heart of this time period where humanity has effected change we can no longer reverse. The work responds to the hard truths of living through the advanced stages of technological power amid the continuing centrality of human indifference and brutality to exploitation’s success. Interested in social constructionism, her art recognizes a full range of existence, including violence, innocence, and invention.
In larger-than-life canvases, Rogers explores sensuality, sanctity, and invasion with a palpable sense of intimacy and tension. The glamor with which the artist treats her subjects operates like a screen on which the physicality of beauty belies darker feelings. For Rogers, some vulgarity is needed to offset the excess of finer feelings that occur in the wake of our human tragedy. In mirroring the countenance of canned sea creatures with the human body, Rogers’ universe draws a striking parallel between the raw vulnerability of sentient sea life and the inherent eroticism embedded within humanity.
Her aesthetic incorporates realism, conceptualism, and the synthesis of text and image. Straddling the line between still-life and portraiture, Rogers’ paintings appear deceivingly photorealistic from afar, while revealing the impressionistic intricacies of the painter’s hand upon closer examination.
She has shown her paintings, photographs, and conceptual installations in museums and galleries, alongside non-traditional locations on five continents.
Born in 1974, in Portland, Oregon, United States
Lives and works in Los Angeles, US
Selected Solo Exhibitions
| 2022 |
Wilding Cran Gallery, ‘Your Perfect Plastic Heart’, Los Angeles, CA |
| 2017 |
The Lodge, ‘Violent Garden’, Hollywood, CA |
| 2016 | Museum of Art and History, ’SUBJECT’, Lancaster, CA |
| 2015 | Select Art Fair, ’COURT’, New York, NY |
| 2015 | Site-specific installation, Embraer Executive Jets private showroom, ‘The Spirits That Lend Strength Are Visible’, Melbourne, FL |
| 2014 | HATCH, ‘Visible Light & I Love You And That Makes Me God’, Los Angeles, CA |
| 2013 | Dawit Yohannes/World Bank, ‘Visible Light’, Juba, South Sudan |
Selected Group Exhibitions
| 2023 |
Galerie Marguo, ‘Art Paris’, Paris, France (forthcoming) |
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Art in Common, ‘Boil Toil & Trouble’, Chicago, IL |
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Art in Common, ‘Boil Toil & Trouble’, Los Angeles, CA |
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M+B Gallery, ‘My Condolences’, Los Angeles, CA |
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Nexx Taipei, ‘Solitude’, Taiwan |
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| 2022 |
Art in Common, ‘Boil Toil & Trouble’, Miami, FL |
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Nicodim Gallery, ‘You Me Me You’, Los Angeles, CA |
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Eric Firestone Gallery, ‘Holy Water’, East Hampton, NY |
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Praz-Delvallade, ‘Don’t Give Me Flowers’, Los Angeles, CA |
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Case Gallery, ‘The Tenth Muse’, Los Angeles, CA |
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| 2021 |
Signs and Symbols, ‘Artists & Allies IV’, New York, NY |
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Untitled Art Fair, ‘Alaina Simone’, Miami, FL |
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Sevil Dolmaci, ‘Everything Has Its Place’, Istanbul, Turkey |
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Tethys Art, ‘The Knockturnal’, Hampton's, NY |
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| 2020 |
The Wallis Annenberg Center for Performing Arts, TZ Projects, ‘Visions In Light’, Beverly Hills, CA |
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TZ Projects, ‘GOING HOME: a picture show’, Los Angeles, CA |
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| 2019 |
MYKONOS BIENNALE, ‘Yes Yes it is Burning Me’, Mykonos, Greece |
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Emergent Gallery, ‘SCENARIOS OF DESIRE II’, Veurne, Belgium |
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Kopeikin Gallery, ‘The Vision Board’, Los Angeles, CA |
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| CGU, ‘Get a Loom’, Los Angeles, CA | |
| 2018 | Site-specific installation, ‘Repairs in The Sky’, Uyuni, Bolivia |
| The Mecca California – The Lodge Gallery, Los Angeles, CA | |
| Soft Core Gallery, ‘Fun on the Floor’, Los Angeles, CA | |
| Gallery in the Seattle Art Fair, ‘Chimento Contemporary’,Seattle, WA | |
| Fullerton College, ‘Luz: Exploring Light’, Fullerton, CA | |
| 2017 | Young Projects Gallery, ‘Vulnerability: The Space Between Group Exhibition’, Los Angeles, CA |
| 2016 | Superchief Gallery, ‘Annual Bi Coastal Group Show’, Los Angeles CA |
| 2015 |
NADA Art Fair, ‘Eye In the Sky’, New York, NY |
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Site-specific installation, Miami Airport American Airlines Admirals Club, ‘V135459-V1211495AB’, Miami, FL |
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| 2014 |
Site-specific installation, Alexandria Care Center, ’Visible Light’, Los Angeles, CA |
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Site-specific installation, American Eagle Building Time Square, ‘I Love You And That Makes Me God’, New York, NY |
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Site-specific installation, Humanefits, ‘Visible Light’, Los Angeles, CA |
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| 2013 |
Site-specific installation, Alan Friedman, ‘Assassination and the Exchange Rate’, Beverly Hills, CA |
| 2012 |
Site-specific installation, First Capitol Consulting, Inc., ‘Secret Nirvanas and Assassination and the Exchange Rate’, Los Angeles, CA |
| 2003 |
844, ‘Equus Fueris Caballus’, Los Angeles, CA |
| 2002 |
Miauhaus Studios, ‘The Good, the Bad and the Ugly’, Los Angeles, CA |
| 1999 |
Ancona, ‘Earth to Hand’, Marche, ITALY |
| 1998 |
Site-specific installation, The Back House, ‘I Like the Dark, It’s Friendly’, Los Angeles, CA |
| 1997 |
Site-specific installation, Floor 53, ‘Everything I Need’, Tokyo, JAPAN |
| 1995 |
Site-specific installation, Shiyoka Love Hotel, ‘Kokoro’, Tokyo, JAPAN |
| 1993 |
Site-specific installation, Koregaon Park, ‘Jewels, Gods, and Dust, a three-story site-specific installation’, Puna, INDIA |
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Fawn RogersMy Back Pages, 2023Oil on canvas144.8 x 182.9 cm (57 x 72 in) -
Fawn RogersThe First Time, 2022Oil on canvas165.1 x 215.9 cm (65 x 85 in)
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Fawn RogersElectric Oyster, 2021Oil on canvas165.1 x 215.9 cm (65 x 85 in)
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Fawn RogersEpoquetude, 2021Oil on canvas165.1 x 215.9 cm (65 x 85 in)
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Fawn RogersHappy As A Claim #2, 2021Oil on canvas215.9 x 165.1 cm (85 x 65 in)
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Fawn RogersHappy As A Clam #1, 2021Oil on canvas215.9 x 165.1 cm (85 x 65 in)
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Fawn RogersSurbrace, 2021Oil on canvas215.9 x 165.1 cm (85 x 65 in)
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Fawn RogersThe Most Beautiful Pearls Are Black, 2021Oil on canvas165.1 x 215.9 cm (65 x 85 in)
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Fawn RogersOur Lady Guadalupe, 2020Oil on canvas215.9 x 165.1 cm (85 x 65 in)
