Doppleganger, 2025
Painting : oil, acrylic, ink, pastel · 75 x 101 x 3 cm 29.5 x 39.8 x 1.2 inch
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Shipped from: Canada
Delivery to: United States , $ 135
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Hand-signed by artist
Technique & Support
oil , acrylic , ink , pastel on Arches paper
Dimensions ( cm • inch )
75 x 101 x 3 cm 29.5 x 39.8 x 1.2 inch Height x Width x Depth
Sold by
Independent artist
Credentials
Vetted seller since 2023
Description
Inspired by Naomi Klein's book of the same name and using the 1594 painting, Gabrielle d'Estrées et une de ses soeurs, as a template this artwork delves into the tension between duality and symbolism, presenting a vivid visual discourse on transformation, feminism, and identity.
At its center are two contrasting female figures, each embodying a distinct archetype. On the left, a richly adorned figure wears an intricate headdress of birds, animals, lunar symbols, and witch-like imagery—emblems of queerness, mysticism, and layered identity. Her face is brightly painted, standing in stark contrast to the muted background, blurring the line between the surreal and the real. She extends a hand, offering a black stone ring to her counterpart, as though proposing a union—or confrontation.
Opposite her, the right-hand figure symbolizes tradition and conformity. She wears a modest tiara, white gloves, and a bridal veil. With a sly expression, she mocks her counterpart with one hand while concealing a kitchen knife in the other. A lazy devil lounges on her arm, hinting at malice just beneath the surface. Though clearly captivated by each other, the right figure is restrained—literally—by a concrete patriarchal hand, anchoring her in place.
Through biting satire and rich symbolism, the artist constructs a narrative where each woman is surrounded by clichéd objects meant to define her, yet each projects a caricature of the other. This mirroring effect underscores how societal assumptions—particularly those around gender and politics—can distort perception and sow division. Ultimately, Singleton challenges us to see beyond these constructed binaries, reminding us that, stripped of imposed narratives, we are far more alike than different.
Presentation
Niki Singleton is a Canadian painter, illustrator, and sculptor currently based in Vancouver CA. She has undertaken residencies at Lanchonete in Sao Paulo, Brazil, La General en Manufacture in Paris, France, Hotel Maria Kappel in the Netherlands and Triangle in Brooklyn, New York. She has had solo exhibitions at GALLERY for Spring/Break Art Show and at Undercurrent Projects in NYC, the Holocaust Museum in Dallas, TX and Imagine IC in Amsterdam, NLS. Singleton's work has been shown at the Brooklyn Museum, the Whitney Biennial, Chelsea Art Museum, White Box Gallery, Dixon Place, Bowery Poetry Club, Center For Performance Research, TSA Gallery, Underdonk Gallery, DAVID&SCHWEITZER Contemporary, Kustera Projects, The Knockdown Center, Studio 10, Norte Maar, Sideshow Gallery, Nurture Art, Brooklyn Fireproof Gallery, Triskelion Theater, and the AiOP Festival in Manhattan and Brooklyn. She holds an MFA in painting from the New York Studio School.
Singleton's painting practice is rooted in an interest in cultural histories and mythologies. She creates symbolic worlds with new or borrowed characters, objects and environments to find meaning in or make sense of current personal and societal predicaments we face. New narratives play out from old stories and can speak to our current dilemmas or celebrate the beauty of freedom, nature and love. Some of the themes in her work range from mythology, nature and specifically the ocean, human/animal hybrids, creatures and entities to queer or displaced peoples, artists and those on the fringes of society. The work often starts from a deeply personal place and then elevates into a global story. Singleton discovers most of her imagery within the process of making so as to retain an essence of creation and a raw emotion that can get lost with an overabundance of control. She regards the vibrant colour in her work as a clear influence of queer culture, whereas, the lyrical quality and movement within the paintings she attributes to an obsessive love of music; a constant influence while working. The finished pieces can contain an otherworldly feeling, unbridled emotion, dark humor, a biting or underlying commentary or an idea of what is precious.
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