Gagosian is pleased to announce Frost, an exhibition of new abstract paintings by Sabine Moritz. This is the artist’s second exhibition with the gallery and her first on the West Coast. Moritz’s paintings, drawings, and prints envision moments suspended in time. In her earlier work, the artist juxtaposes interpretations of her immediate surroundings and signifiers of the natural world with deconstructed documentary images; in many of her recent canvases, she adopts a more narrative approach, which she augments by using a horizontal format. Continually altering and deploying a wide range of abstract and symbolic motifs, Moritz explores the dynamics of transience and decay in works that locate personal experiences within broadly shared histories. Since 2015, Moritz has increasingly worked in an abstract mode, creating paintings that she dubs “psychological landscapes,” titled after elements, locations, months, seasons, and mythological Gagosian to Exhibit New Paintings by Sabine Moritz in Beverly Hills Opening on November 8, Frost is Moritz’s First West Coast Exhibition Sabine Moritz, New World I, 2024, oil on canvas, 70 7/8 × 98 1/2 inches (180 × 250 cm) © Sabine Moritz. Photo: Georgios In these works, overlapping brushstrokes are allied with chromatic contrasts in improvised compositions. Searching for primal sensory experience, Moritz avoids preliminary sketching, confronting the viewer instead with an unmediated dialogue between color and gesture that addresses recollection and history in a consciously oblique, ambiguous manner. In the twenty new canvases on view in Beverly Hills, Moritz presents dense arrays of painterly marks that harness the emotional power of color while retaining a consistent visual rhythm. With titles that refer to time and place, and to poetry—And the lovers lie abed, with all their griefs in their arms (D. T.) (2024) is taken from Dylan Thomas’s ars poetica “In My Craft or Sullen Art,” from his 1946 collection Deaths and Entrances—the works repay extended looking. Moritz applies pigment vigorously and in layers, sometimes as impasto, which is then scraped back to imbue the surface with a varied texture. Engineering collisions between shape and hue, she sometimes also suggests figures emerging from or disappearing into the works’ interlocking patterns. This establishes references to artists of different epochs who have integrated the human form into landscape paintings. Like frost, which seems suspended between liquid and solid conditions, Moritz’s figures exist in an enigmatic liminal state