In her new body of work, Rebecca Lindsmyr continues to probe the tensions between gesture, language, and the construction of the self. Drawing from psychoanalytic and post-structuralist thought, she uses the painterly surface as both a site of projection and resistance – a field where subjectivity is formed, layered, blocked, and reassembled. The artist returns to her own handwritten signatures, repurposing them as painterly gestures. These once-functional signifiers are reframed through mechanical processes such as screen printing and repetition. While bending a tradition of reading the gesture as a trace of inner life or authorship, Lindsmyr exhausts the mark of the self, turning it into something simultaneously intimate and estranged.

The surfaces of her paintings unfold like palimpsests, built through gestures of concealment and revelation. Areas of the canvas are masked or overwritten, leaving behind traces, glitches, and interruptions. Some marks feel fluid and direct, others are obscured or fragmented, like half-formed thoughts. This rhythm of layering could be suggested to mirror the psychological processes we all move through: absorbing, editing, repressing, and resurfacing.

Operating at the intersection of painterly discourse and critical theory, Lindsmyr's practice positions painting not as image, but as body – a layered, intertextual, psychological construction. What may at first appear as formal experimentation unfolds into a dense meditation on identity, symbolic systems, and the continuous negotiations of becoming.