Don't make me over, 2014 | Oil on canvas | 25 x 22 inches

Sherie' Franssen highlighted on BOOOOOOOM

May 2016

Sherie' Franssen a Spotlight Artist on BOOOOOOOM… read more

Poems on the floor, 2014. 45 x 41 in. Oil on canvas.

Matt Gonzalez reviews Sherie' Franssen's show for SFAQ


January 2015

Sherie’ Franssen’s show at Dolby Chadwick Gallery, The Gorgeous Nothings, follows her critically acclaimed show from 2012. Seven sizable canvases, the largest measuring 77 x 83 inches, comprise the majority of work on display, and all the paintings date from 2013–14. Franssen’s abstractions begin with an under-painting of figurative elements that she adroitly obliterates, leaving non-objective finished works. What appears uncontrolled and disorderly slowly reveals the grounding effect these figures lend to the paintings, allowing for a formal looseness. A rapport with Willem de Kooning and Joan Mitchell’s paintings is evident, particularly the untitled paintings de Kooning did from 1975–77. Yet Franssen makes abstraction her own, and the discernible chaos that manifests is at all times hinged by the substrata of landscape and figures. In contrast to de Kooning, Franssen isn’t modest in her application of brush strokes.… read more

Pink Wave, 2014

SF Examiner's Anita Katz reviews Sherie' Franssen's "Gorgeous Nothings"

Sherie' Franssen abstracts evokes emotion

January 2015

Sherie' Franssen paints abstract canvases in which the human figure, even when broken up beyond recognition, makes a substantial and dramatic impression. Bits, pieces and pinks have the spotlight in “Gorgeous Nothings,” her fifth solo show at Dolby Chadwick Gallery in The City.… read more

Poems on the floor, 2014

San Francisco Chronicle's Kenneth Baker reviews Sherie' Franssen's "Gorgeous Nothings"

December 2014

The work of Southern California painter Sherie’ Franssen has long satisfied what seem to me the requirements of solid contemporary painting. It is improvisational, history conscious, unstinting and frequently surprising.… read more

Slippy, 2012

Kenneth Baker reviews Sherie' Franssen's "Flesh & Blood" San Francisco Chronicle

October 2012

Franssen's fourth: Southern California painter Sherie' Franssen turns in a fourth solo show at Dolby Chadwick. Any visitor who knows her work will recognize it instantly, but may be surprised to find her moving - well, "backward" is too tendentious a word - but to a place she has already visited.… read more

"For Miguel de Unamuno II" (1985) oil, magna, charcoal, pastel and collage on paper by Jim Morphesis

Kenneth Baker reviews "Heads" exhibition curated by Peter Selz at Dolby Chadwick Gallery

"Heads" minus tales

April 2011

Art historian and museum director emeritus Peter Selz, now in his 90s, has a longer view than most of what has persisted and what has expired in the art of several generations past. So his choice of "Heads" as the theme of the show he assembled for Dolby Chadwick warrants serious reflection. Significantly, Selz sidelines the notion of portraiture, although several things on view announce themselves as portraits or self-portraits. "Heads" encompasses both living and dead, portrait and mask, individual and symbol.… read more

Lovesick, 2010

Kenneth Baker reviews Sherie’ Franssen’s "Flesh Was The Reason" San Francisco Chronicle

Sherié Franssen amplify bold ideas

November 2010

For range and spark of invention, I can hardly recall a San Francisco gallery debut to compare with that of Oaklander Randy Colosky at Ampersand. Colosky identifies himself as a conceptual artist, but a vivid, exacting physicality distinguishes every piece in his show. Guest curator Tracy Wheeler must get some credit for the selection, which makes it look as if Colosky never repeats himself.… read more

Rive Gauche, 2008

Franssen's exhibition "Driving Into the Ocean" featured in the Art Ltd. review "Under The Radar"

sherie' franssen

May 2009

Sherie’ Franssen’s massive, vigorous paintings revel in the depth and saturation that are hallmarks of oil paint. In reproduction, their extravagant thick surfaces are flattened and the organization of their vast spaces becomes less easily legible; compressed, her paintings look like firecrackers or chrysanthemums. In person, however, figures can be seen emerging from the depths of paint. Franssen is often inspired by art historical images, from Mantegna to Philip Guston. When one comes face-to-face with her paintings, much of the energy of the elaborately deconstructed and recontextualized canonical compositions carries through, bearing with it the resonance of centuries of connoisseurship and study.… read more

Group in Sea, 2008

Kenneth Baker lists Sherie’ Franssen in Top 5 Art Picks for 2008 in San Francisco Chronicle

Kenneth Baker's top 5 art picks for 2008

January 2009

Best new work of art, period All right, not even I believe this apples-over-oranges category makes sense. But I have a candidate, and it remains on view (through Jan. 31): Sherié Franssen's painting "Group in Sea" (2008), which appears in her exhibition at Dolby Chadwick in San Francisco.… read more

Group in Sea, 2008

Kenneth Baker reviews Sherie’ Franssen’s exhibition “Driving Into the Ocean” San Francisco Chronicle

Abstractions from paintbrush and camera

December 2008

When Southern California painter Sherié Franssen first showed her work in San Francisco two years ago, I thought that, already in midcareer, she must have hit her stride. But her new work at Dolby Chadwick marks an even higher pitch of daring and fulfillment. Her paintings may strike unprepared eyes as visual gibberish, but that's the first proof of her fearlessness as an artist.… read more

Blood Muscle Meat, 2006

Kenneth Baker reviews Sherie’ Franssen’s exhibition "Satisfaction is Nothing" San Francisco Chronicle

Visceral art that pushes out of the comfort zone

November 2006

Portland painter Sherie' Franssen borrowed a line from Philip Guston (1913-1980) to title her first San Francisco show at Dolby Chadwick: "Satisfaction is nothing." "Frustration is one of the great things in art," Guston said, "satisfaction is nothing." He was admonishing fellow painters more than viewers, but for years viewers of his late work found it frustratingly hard to decipher, especially considering that he had reverted from abstraction to imagery.… read more