Madeleine Pfull’s paintings focus on a complex world that is deeply rooted in the everyday. An aesthetic that – as Dr Oliver Watts described it – “refuses to see the ordinary and everyday as meaningless”. Her works transform banality into something intriguing and highlights it as a multi-facetted microcosm. Pfull celebrates the moderate behavior and average looks of the women in her paintings whilst also echoing their hidden emotional as well as social ambivalence, emphasized further by their ordinary surroundings. In situations in which a moment can be endless, and time passing reveals itself as an almost symbolic parameter, these usually invisible characters expose their inner selves.​

​Pfull’s new paintings take up this notion of time passing and transfer the viewer into a private and quieter atmosphere: an environment into which her now singular characters retreat. Seen from the outside, they can be perceived as the ‘invisible women’. The ones we all know. The ones that usually hide away their emotions. These women only allow failure to happen in moments of total privacy and seclusion. They scrunch up their face while having a smoke on the sofa, deeply relax in an armchair, spill milk on the floor and immerse into a hidden space of their own. An emotional inner room that Madeleine Pfull subtly captures in stages of solitude, of tedium, of anxiety: in moments where they feel safe.​

Excerpt from Philipp Fernandes do Brito​.

​Madeleine Pfull (b.1993) has had solo exhibitions at Salon Nino Mier, Cologne (2020), Chalk Horse Gallery, Sydney (2019), Nino Mier Gallery, Los Angeles (2018), M2 Gallery, Sydney (2017); and group exhibitions at Nino Mier Gallery, Los Angeles (2020), and Johannes Vogt, New York (2019), among others. Her residencies include Salon Nino Mier, Jen Mann, and Spark Box Studio, Canada. She holds a BFA from Sydney College of the Arts.