Mira Vex trained as a classical portrait painter before spending a decade restoring stained glass and altarpieces — work that left her fluent in silver leaf, glazing, and the slow architecture of a devotional image.

The current body of work treats the painted icon the way a dying monitor treats an image: interference, drop-out, chromatic bleed. Each panel begins on canvas or wood exactly as it would have four hundred years ago, then is scanned, corrupted, and painted back into by hand, so the "glitch" is never printed — it's pigment.

Based in a converted signal-relay station outside the city. Work held in three private collections and one group show that got written up for the wrong reasons.

MEDIUM

Oil, silver leaf, panel

BASED

Relay Station 9

PRACTICING SINCE

2013

AVAILABLE FOR

Commission / Press