One work depicts various incarnations of the James Bond character over sixty years of the film franchise. Alternately pensive, dapper, menacing, and aloof, each new Bond iteration becomes a vehicle to work through different painterly styles. With her keen attention to surface, Fourchy builds layers of flat figuration, which she brings together to form a constellation of masculine drag that reproduces the flatness of the screen.

In her new series of paintings, Fourchy inverts conventional relationships between human subjects and objects. The Bond characters who recur in several paintings operate as an “accessory” to the menswear and classic cars that appear throughout the exhibition. Unlike the human figures, which seem collaged like paper dolls, the bodies of the cars swell with voluptuous curves while evening wear and bikinis are emptied and cropped to evoke absent bodies. As with the updates to James Bond over time, design and period revival are evident in the suit-paintings as well. Drawing inspiration from magazine images of the Dead Kennedy’s pantomiming the Beatles in dollar sign Oxfords or graphic t-shirts masquerading as tuxedos on eBay, the garments that appear in Fourchy’s paintings remind us that “it’s important to remember that you’re born naked, and the rest is drag.” 1

Andrea Fourchy (b. 1990) lives and works in New York. Fourchy has had the solo exhibitions Girlfriends (2021) and No Head (2018) at Lomex, New York. She has additionally participated in group exhibitions at Doyers Street, New York; Greene Naftali, New York; Maria Bernheim, Zurich; Svetlana, New York, Gaudel de Stampa, Paris, among others, and had a two person exhibition with Sergej Jensen at Avlskarl, Copenhagen (2016).

1 Popular quotation attributed to RuPaul.