Jessie Givner’s paintings explore the space between realism and abstraction, creating a subtle tension between two visual languages. In her Still Life with Geometric Abstractions series, familiar objects like oranges and avocados meet smooth, flat stripes of geometric abstraction. A table can be read as both a realistic anchor and a purely abstract shape, while a three-dimensional orange gradually shifts into a flat geometric circle. These works invite viewers to consider where realism ends and abstraction begins.

In her Andy Warhol and the Modernists series, Givner transforms the humble tin can, a symbol of pop art traditions, into a study in high modernism. The stripes that form the can’s curve merge with the flat stripes of the picture plane, creating a flicker between depth and flatness, popular culture and formalist abstraction.

Through this merging of the familiar and the abstract, Givner creates paintings that reward close looking and invite reflection on how we see and interpret the world.