top of page

Dancers

05/09/25 - 27/09/25

 

Grace Mattingly

Mattingly’s latest body of work playfully celebrates shifting bodies, identities and desires in a wet-on-wet approach to painting. The figures (dancers) within these works are in a constant state of ‘becoming’, from animal to human, and possibly even to monster. It’s not clear at which point in the transformation that we’re invited to watch, only that these creatures are caught in flux. 
 
The two largest works, Horse Ballet and Purple Dancer offer one another a mirrored pose, each with a jaunty arm overhead and opposite leg outstretched. With complimentary light and dark palettes, they suggest day and night, or dawn and dusk, acknowledging the cyclical and seasonal nature of time passing and inevitable change. 
 
In juicy hues of pinks and oranges, Horse Ballet depicts a tutu’d figure light on her feet but with a horse’s head. In cooler greys and purples, Purple Dancer offers another ballerina with feathered arms. Both paintings reference a number of mythical characters associated with transformation; from a Midsummer Night’s Dream’s ‘Bottom’ to ‘Princess Odette’ of Swan Lake, to the evil ‘Queen Grimhilde’ of Snow White and the Seven Dwarves. The twin-like pose of these figures, coupled with the opposing positions within the gallery, emphasize the ‘magic mirror’ theme within the work; exploring perception, performance and the tensions between child and adulthood. 
 
Alongside an intuitive use of colour and expression of form, Mattingly’s approach to painting also involves the act of erasure and removal. The works on display include a process of wiping away where shadows and echoes of previous figures remain subtly present within the layers of paint on the surface. Acting almost as the canvas’s subconscious, these shadowy figures suggest a former life or memory that belongs to the painting - trapped somewhere dreamlike perhaps, in the realm between past and present. 
 
The ‘idealised feminine’ (the behaviours and traits most celebrated in women historically) is a longstanding subject within Mattingly’s practice, but for Two Left Feet this is emphasised by her inclusion of the red high heel - a motif of femme performance. However the feet they contain are misfits not only for their ogre-ish green hue, but on account of them being two lefts. This playful cue indicates that the figures within these paintings don’t take themselves, and their transformation, too seriously. This in itself is an act of transgression - to freely transform without shame or self-consciousness, is still an attitude that the ‘idealised feminine’ does not celebrate. 
 
The smallest work within ‘Dancers’, Little Flower, is a flower budding with potential; pale petals against a brooding background. Like Mattingly’s other works, this petite painting is loose and intuitive, with its chin raised upwards in a curious curl. It is nascent and delicate, just at the beginning of its journey of growth and transformation. 

Words by Georgia Stephenson

 
 
Grace Mattingly (b.1991, Chicago) lives and works in London. She holds an MA in Painting from The Slade School of Fine Art, University College London (2021), studied Painting and Drawing at the School of the Art Institute of Chicago (2017), and holds a BA in Philosophy from Columbia University, New York (2014). Solo exhibitions include Sundown, Goldfinch Gallery, Chicago (2024); Monster Party, Arusha Gallery, Bruton (2024); Untitled Miami, Huxley Parlour Gallery, Miami (2022); Yellow Horses, Taymour Grahne, London (2022); Secret Sunshines, Arusha Gallery, Edinburgh (2021). Group exhibitions include REVERB, Florence Trust, London (2025); Neon Jungle Nocturne, Lychee One, London (2024); Luminous Terrain, Atipografia, Arzignano (2023); New Mythologies II, Huxley Parlour, London (2022); Four Painters & A Photographer, Grove Berlin, Berlin (2022); Intimacy, Taymour Grahne Projects, London (2022); Internal Weather, Sid Motion Gallery, London (2022); MAMA, Prior Art Space, Berlin (2022); Coming In, Coming Out, Prior Art Space, Berlin (2022); Dream On, Grove London, London (2021); A Chorus of Bodies, Liliya Gallery, London (2021).
The silver moon offers just a slither of fraternal light, as I doze peacefully beneath my mossy blanket. Above, the damp air is cool, just hours from becoming morning dew. It is still, a bewitched fog - until it isn’t. 
 
Out in the distance, hollow footsteps, iambic in rhythm, weave through the sleeping trees. They churn up the forest floor, in a crackle, splinter and snap. There’s a faint howl of shrill laughter. Then faster, louder racing, rumbling through the ground, rumbling in my direction. Seconds later, they land in a knot of limbs. Their colossal shared frame heaves up and down, exchanging hot breath for cool sips of crisp, glen air. 
 
Heartbeats steadying, they begin to untangle. Four calves, with deep ravine-like muscle, split and extend to either side of the clearing. Facing one another at treetop lofty heights, they neglect their audience of one: I crane to take in the twosome who’ve disturbed my slumber. Their towering bodies, human for the most part, are milky – opalescent in the dappled moonlight. A lilac seam runs vertically down the reverse of either leg, an exposed shoulder glints coral as it twists to stretch, an electric current of turquoise sears along a collarbone that protrudes out of a faultless posture. 
 
Ready? asks one’s twinkling eye, to the other. They still haven’t noticed me, why would they? I’m a glint in their periphery at most. 
 
The other raises their arms, forming a mirror image. I’m on the frozen lake too, holding tight, totally transfixed. Their rehearsal begins. An identical series of points, bends, leaps and lifts, that escalate into concentric spins and spirals. I can’t keep up. As they fling, they call out to one another in jest. Their jokes are low and deep, then pierce without warning, and echo all around the glade. 
 
My sidelined adoration tries to make sense of the performance that unfolds. Their affinity is hard to grasp - an unspoken parallel that could come from bloodline - only at times, they hold each other like lovers. A teasing dip or swallow that feels more like courtship. What do I know? 
 
One lifts the other into the stars, then trembling threatens a drop. Of course this collapse never comes. No force that could tame this otherworldly duo. They are untethered entirely, a constellation unto themselves, surfing alone on a cosmic plane… right here on my doorstep.
 
They’re slipping even more now. I was sure of an elegant forearm, just moments ago, but now it’s a winged mass - stirring what little air is left in the atmosphere into a furious whip. My neck longs to droop, but it’s forced to twist by the rush. I can’t turn away. Then the other - I’d been certain of an aquiline nose - but what’s there is now much wider - spanning a Samson’s muzzle. Deep crimson eyes dart wildly… and then, they dart to me. 
 
Is this my invite? I want to join so badly but I’m immoveable of course. Not as a contrarian, but due to my roots. My freedom is betrothed to another. I can’t choose. I wait, watch and hope. I have only ever yearned for something that I don’t yet understand, which is to leave behind all that has nurtured me, to be flung far far away. I long for nothing more than a transformation of my own - perhaps into woman, perhaps into beast. The only thing more driving than the dancers’ feet at my head, is the prospect of never being able to join them. Never following their spirit into the night. 
 
I shrug, it’s not my time.
 
I wake the next morning under cherry red skies. Untrampled, unpicked and unremembered. Alone again but for a singular white feather left by my side. A keepsake to remind me that eventually I’ll lift off the ground, for I wasn’t born a bird, but a flower.

One lifts the other into the stars, then trembling threatens a drop. Of course this collapse never comes. No force that could tame this otherworldly duo. They are untethered entirely, a constellation unto themselves, surfing alone on a cosmic plane… right here on my doorstep.
 
They’re slipping even more now. I was sure of an elegant forearm, just moments ago, but now it’s a winged mass - stirring what little air is left in the atmosphere into a furious whip. My neck longs to droop, but it’s forced to twist by the rush. I can’t turn away. Then the other - I’d been certain of an aquiline nose - but what’s there is now much wider - spanning a Samson’s muzzle. Deep crimson eyes dart wildly… and then, they dart to me. 
 
Is this my invite? I want to join so badly but I’m immoveable of course. Not as a contrarian, but due to my roots. My freedom is betrothed to another. I can’t choose. I wait, watch and hope. I have only ever yearned for something that I don’t yet understand, which is to leave behind all that has nurtured me, to be flung far far away. I long for nothing more than a transformation of my own - perhaps into woman, perhaps into beast. The only thing more driving than the dancers’ feet at my head, is the prospect of never being able to join them. Never following their spirit into the night. 
 
I shrug, it’s not my time.
 
I wake the next morning under cherry red skies. Untrampled, unpicked and unremembered. Alone again but for a singular white feather left by my side. A keepsake to remind me that eventually I’ll lift off the ground, for I wasn’t born a bird, but a flower.


Words by Georgia Stephenson
List of Works
bottom of page