Simone Shubuck: Growing Places

There is an undeniable botanical bent to New York-based Simone Shubuck's solo show "Do You Like Old Things, Or New Things That Look Old?" at Taylor De Cordoba's Culver City gallery, from the bouquet-like composition of Believe It, with its gumball spectrum of illustrated paint blobs, to her new Phillip Guston-indebted self-portrait, complete with bloom-shaped thought bubbles. "I work from an unconscious place, and they just seep in," the artist explains of her fantastical abstracts. It's no wonder--Shubuck, who has shown at such notable institutions as MoMA, and is collected by the likes of Mario Testino and Amanda Peet--has also been arranging flowers on the side since 1998. Chef and restaurateur Mario Batali gave the SF Institute of Art grad her big design break, doing arrangements for his Downtown mainstay, Babbo. "I think that process of color and textural composition informed a lot of the choices I make in my art," she says. The gig led to more commissions, as well as a greater emphasis on floral shapes in her early compositions: dense colored pencil and graphite works, beloved for their unedited, obsessive intricacy. "They were Lena Dunham-esque, in that young person, let's just go without the filter because this is who I am kind of way," Shubuck says. Her new pieces, created in a studio adjacent to her West Village garden, opt for a more brazen, less-fiddly painted treatment. "I was kind of jokey and lewd in my older work," she says. "I still do that now--it's just more layered." Love Simone Shubuck as much as we do? Check out selected works from "Do You Like Old Things, Or New Things That Look Old?" below and take home a piece of Shubuck's work by picking up an edition of her Gold Dusted Mouse Written in Leaves. From $175, Exhibition A
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Godie Top 2012 | 13" x 10" | Mixed Media on paper   Believe It 2012 | 79.25" x 50" | Mixed Media on paper
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 Glass Half Empty, Also I'm Starving 2013 | 15.25" x 10.5" | Mixed Media on paper  Super Future Shoob 2012 | 66" x 50" | Mixed Media on paper
Photograph: Andrew Arthur