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And... and... c’mon, Nick, what do you expect? To live happily ever after? —Elizabeth James, The Parent Trap (1998), 2024, Acrylic, oil, and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37825

And... and... c’mon, Nick, what do you expect? To live happily ever after? —Elizabeth James, The Parent Trap (1998), 2024, Acrylic, oil, and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37825

Good morning, winner. Take a deep breath. Good. You’re ready to dominate this day. —Motivational Voice, Booksmart (2019), 2024, Acrylic and oil on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37819

Good morning, winner. Take a deep breath. Good. You’re ready to dominate this day. —Motivational Voice, Booksmart (2019), 2024, Acrylic and oil on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37819

I don’t bite, you know... unless it’s called for. —Regina Lampert, Charade (1963), 2024, Acrylic on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37812

I don’t bite, you know... unless it’s called for. —Regina Lampert, Charade (1963), 2024, Acrylic on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37812

I’m glad he’s single because I’m going to climb that like a tree. —Megan, Bridesmaids (2011), 2024, Acrylic on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37822

I’m glad he’s single because I’m going to climb that like a tree. —Megan, Bridesmaids (2011), 2024, Acrylic on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37822

It’s just, living alone, you know? And, the thought of buying those books like Cooking For One, and... it’s just too depressing. —Allison Jones, Single White Female (1992), 2024, Acrylic on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37827

It’s just, living alone, you know? And, the thought of buying those books like Cooking For One, and... it’s just too depressing. —Allison Jones, Single White Female (1992), 2024, Acrylic on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37827

That is why every day we pray for rain. —Daena, Planet of the Apes (2001), 2024, Acrylic and glitter on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37839

That is why every day we pray for rain. —Daena, Planet of the Apes (2001), 2024, Acrylic and glitter on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37839

We have enough. You can stop now. —Ava Fontaine, Lord of War (2005), 2024, Acrylic, molding paste, glitter and oil on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37813

We have enough. You can stop now. —Ava Fontaine, Lord of War (2005), 2024, Acrylic, molding paste, glitter and oil on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37813

What would Mother think of my becoming a pirate? —Wendy Darling, Peter Pan (2003), 2024, Acrylic and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37826

What would Mother think of my becoming a pirate? —Wendy Darling, Peter Pan (2003), 2024, Acrylic and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37826

You don’t find that offensive? You don’t find that sexist? —Bobbi Flekman, This is Spinal Tap (1984), 2024, Acrylic and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37824

You don’t find that offensive? You don’t find that sexist? —Bobbi Flekman, This is Spinal Tap (1984), 2024, Acrylic and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37824

I guess it feels different when it’s someone you love. —Cassandra, Promising Young Woman (2020), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37837

I guess it feels different when it’s someone you love. —Cassandra, Promising Young Woman (2020), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37837

It would seem that you have no explanation for what you have done. You have shed the blood of so many Christian souls, and yet... before me now, all I see is a... young and vain and foolish man so easily riled, so easily beguiled. —Catherine, The King (2019), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37830

It would seem that you have no explanation for what you have done. You have shed the blood of so many Christian souls, and yet... before me now, all I see is a... young and vain and foolish man so easily riled, so easily beguiled. —Catherine, The King (2019), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37830

The little bird thought she was going to die out there in the forest. All alone. She called out, in her sweet baby voice, to see if her ma would hear her. Her voice was so pure, it carried for miles through the trees. And suddenly, out of nowhere, her ma came flying down and scooped her up in her breast. And the little baby bird chirped with delight, She held on tight to the trees till they came to a beautiful place. Where she and her ma and pa could live happily together. The sun shone brightly, the air was clear, and she was home. —Clare, The Nightingale (2018), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37831

The little bird thought she was going to die out there in the forest. All alone. She called out, in her sweet baby voice, to see if her ma would hear her. Her voice was so pure, it carried for miles through the trees. And suddenly, out of nowhere, her ma came flying down and scooped her up in her breast. And the little baby bird chirped with delight, She held on tight to the trees till they came to a beautiful place. Where she and her ma and pa could live happily together. The sun shone brightly, the air was clear, and she was home. —Clare, The Nightingale (2018), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37831

Whoever you are, I have always depended on the kindness of strangers. —Blanche DuBois, A Streetcar Named Desire (1951), 2025, Acrylic, oil, and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37828

Whoever you are, I have always depended on the kindness of strangers. —Blanche DuBois, A Streetcar Named Desire (1951), 2025, Acrylic, oil, and glitter on canvas, 48 x 48 inches, 121.9 x 121.9 cm, MMG#37828

Why are you hiding back there? You don’t have to hide from me. I’m Peg Boggs, your local Avon representative, and I’m as harmless as cherry pie. —Peg, Edward Scissorhands (1990), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37836

Why are you hiding back there? You don’t have to hide from me. I’m Peg Boggs, your local Avon representative, and I’m as harmless as cherry pie. —Peg, Edward Scissorhands (1990), 2025, Acrylic on canvas, 36 x 36 inches, 91.4 x 91.4 cm, MMG#37836

Press Release

Miles McEnery Gallery is delighted to announce Gabrielle Garland’s first solo exhibition with the gallery, I’ll Get You, My Pretty, and Your Little Dog Too, on view 4 September - 25 October at 511 West 22nd Street. The exhibition is accompanied by a fully illustrated publication featuring an essay by Tara Anne Dalbow.

While Gabrielle Garland’s paintings do not depict any figures, they maintain an air of portraiture. Here, the subjects are not people, but the homes they inhabit, which act as surrogates of their personality and private lives. Garland’s impressionistic style does not seek an exacting architectural record. Instead, she treats each home with patient reverence, revealing subtle facets easily overlooked in the haste of the everyday passerby. Stairs, flower boxes, or mailboxes swell or shrink disproportionately, revealing the distortions of the artist’s memory (that murky area where structural logic intermingles with emotional noise).

At times, her homes take on an almost human quality: illuminated windows glow like eyes on either side of a doorway, overhanging porticos jut out like a nose, and the eaves of roofs contort into a furrowed brow or expression of delight. Warping and sagging beneath their own weight, some lean toward each other as if in whispered, huddled conversation. By humanizing the inanimate, Garland’s work invites us to slow down and consider our built environment, not as a passive background, but as an active witness, which acts as an impression of our daily lives.

Tara Anne Dalbow notes that, “although human figures are absent from her compositions, their presence is palpable. These houses aren’t abandoned; they don’t exist in a post-human apocalypse. Instead, they are the products of people’s labor, care, and creativity. That each house, despite the repetition of architectural elements and the use of familiar mass-produced materials, is distinctive, is a testament to both the ingenuity of their owners and the quality of the artist’s attention: her ability to discern the most illustrative details. It’s true that no two are alike, as Dorothy said: there’s no place like home.”

Gabrielle Garland (b. 1968 in New York, NY) received her Master of Fine Arts at the University of Chicago, Chicago, IL and her Bachelor of Fine Arts from the School of the Art Institute of Chicago, Chicago, IL.

Garland has been the subject of solo exhibitions at The Pit LA, Los Angeles, CA; Taymour Grahne Projects, London, United Kingdom; Corbett vs. Dempsey, Chicago, IL; The Brent and Jean Wadsworth Family Gallery, Lewis University, Romeoville, IL; Hap Gallery, Portland, OR; and DOVA Temporary, Chicago, IL.

Recent group exhibitions have been held at The Pit LA, Los Angeles, CA; The Hole, New York, NY; Weinberg/Newton Gallery, Chicago, IL; DeVos Art Museum, Northern Michigan University, Marquette, MI; 1969 Gallery, New York, NY; and Campbell Project Space, Sydney, Australia. 

Garland lives and works in New York, NY.

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