Isca Greenfield-Sanders uses different and — apparently — conflicting
techniques: she collects and appropriates photographs, some shot by
herself, others sought elsewhere and retrieved for her own purposes.
The artist imitates the effect of painting and the final impact, indeed,
is reminiscent, at first sight, of watercolor or oil painting. On closer
inspection, however, the work reveals an ambiguity, in the sense that it deliberately arouses in the viewer the doubt whether what he is looking
at is a painting, or a photo, or a mixture of both. Take for instance the cycle of works in which Greenfield-Sanders shows a group of people having a picnic lunch sitting on the grass or sunbathing on the beach — themes that the artist is fond of and that recur again and again in her work. In these works, the memory contained in the image that is appropriated by the artist is overlaid, even suppressed, by the new ensemble, which is autonomous, because the result of a process of identification that results from a split. Her work is the expression of the loss of certainty that characterizes contemporary thought; at the same time, it is a manifestation of the crisis of style and its impossibility of being expressed through totally new visions.
Demetrio Paparoni, from www.iscags.com

Selected solo exhibition: 2003: Klüser 2, Munich; 2002: Lombard-Freid, New York; Baldwin, Aspen, USA.
Selected group exhibition: 2003: All about me, Spike, New York; Snitzer, Miami; 25th Anniversary Show, Bjorn Wetterling, Stockolm; 2002: Painting as Paradox, Artistis Space, New York; Gothic Mood, Palazzo delle Stelline, Milan; Friends and Family, Lombard-Freid Fine Arts, New York; 27 Emerging Artists, Spike, New York; 2001: Vice Versa, Rare, New York; Addition|Subtraction, Carlin Space, New York; Collectors Choice, Exit Art, New York.