“Everything is alive and breathing,” artist Naudline Pierre declared from her studio in Greenpoint, Brooklyn, one August morning. She was discussing her latest works, large canvases filled with sensual mythical beings that have garnered her acclaim. As she applied final touches before shipping them to Manhattan for her solo exhibition, “The Mythic Age,” which opened last week at James Cohan Gallery, Pierre reflected on the energy of her creations.

Upon closer inspection, it became clear that Pierre's assertion held. The paintings reveal animated details: cherubic faces peek through rose-hued clouds, flickering flames sport electrifying grins, and the flowing hair of her mythical figures resembles serpents. “With these works, I’m painting purely from the joy of painting,” she noted with a soft smile.

Over the past five years, Pierre has emerged as a significant voice in the art world, captivating audiences with her vibrant, jewel-toned depictions of an otherworldly realm populated by winged beings and cherubs. After earning her MFA in painting from the New York Academy of Art in 2017, she debuted with her solo show “Visitors” at Thierry Goldberg in New York. Her West Coast debut followed in 2019 at Shulamit Nazarian in Los Angeles, and she was awarded a prestigious Studio Museum residency for 2019–2020, culminating in a three-artist exhibition at MoMA PS1. Since then, her ascent has continued, with notable exhibitions including “What Could Be Has Not Yet Appeared” at the Dallas Museum of Art in 2021 and “This Is Not All There Is” at the Drawing Center in New York in 2023.

Now represented by James Cohan Gallery, “The Mythic Age” marks a new chapter for Pierre, following her previous exhibition with the gallery, “Enter the Realm.” A noticeable shift in her color palette is apparent; the rich jewel tones of purples and emerald greens have transitioned to softer pastels of blues and pinks, infusing her work with an ethereal quality reminiscent of dance. 

For nearly a decade, a central female figure served as the protagonist in Pierre’s work, often described as an “avatar” or “alter ego,” embodying a range of emotions alongside protective winged seraphim. In her new paintings, however, this central character is absent, allowing the mythical beings to take center stage. “I wanted to give all of the supporting characters a chance to be on the center stage—the flames, clouds, locks of hair, it’s all playing a role,” she explained.

Pierre describes her characters as “appearing” to her, and these new works present snapshots of mythical figures existing outside of time. “They understand that they’re being watched, but they don’t care. There is a powerful, feminine, transformative element about this work,” she shared. Although her figures resemble women, Pierre emphasizes their transcendence beyond gender. “These beings are sustaining me, literally, financially and emotionally,” she said. “But they are much more dynamic and powerful than anything I could even conceptualize.”

In these works, seraphim hover in pale blue skies or fluffy clouds, hinting at their celestial realm. This evolution was inspired by a trip to Paris last year and a visit to the Louvre’s “Naples in Paris” exhibition, which showcased centuries of Italian painting. “Many of the themes in the show were mythical and right up my alley. After seeing those paintings, I wanted to see how I could translate a shift in my color palette,” she explained.

Pierre’s art engages deeply with Western art history, drawing from various eras to create her own vision of a celestial realm populated by Black figures. While she acknowledges the influence of religious art—stemming from her upbringing as the daughter of Haitian immigrants—her intent diverges from traditional iconography. “I used to resent all the imagery of fear, but I’ve found a way to use it to express myself,” she said.

For Pierre, these symbols represent her most authentic language for conveying universal moments of emotional transformation. “The flames signify change and transformation. Flames, to me, are beautiful, but fire can be painful too,” she noted. She finds parallels with artists like El Greco, whose expressive style captures the intensity of religious devotion. “That mixing of the familiar with uncanny is something I relate to,” she said.

William Blake also influences her work, as Pierre identifies with his material connection rather than his personal beliefs. “I take what I want and leave the rest. That’s not my responsibility,” she remarked.

Reflecting on her recent paintings, it’s evident that they are more rooted in mythology than religion. Her figures embody a sense of movement and dance, their flowing hair evoking the power of Medusa. Inspired by Paris, a city she says “always fills me with beauty,” Pierre sees her art as a personal mythology, blending everything she has absorbed throughout her life.

Looking ahead, Pierre dreams of expanding her mythical universe through new sculptural works and even film. For now, however, she embraces a moment of rest. “There’s a certain trust and communication with these characters where I’m asking, ‘What do you want from me? What am I supposed to do next?’” she said. “The answer isn’t always here in the studio. Sometimes the answer is living my life, experiencing life, or taking a long nap. I try to remind myself that this is more than just a physical process. It’s an emotional process and it’s also a spiritual one.”

Sayart / Amia Nguyen, amyngwyen13@gmail.com