"One of the conditions that feels unique to this moment is our collective awareness of the work of so many more artists than in the past, before social media brought the world to us. In 2014 I began compiling photos of certain women artists whose works help me to clarify my own sensibility, refine my own vision, and articulate my own specificity into a curated database which has become an ever-expanding source of all the artwork I’ve made since. Their images become scaffolding for my own formal explorations. Those I admire become part of my digital archive as do the drawings, paintings, collages or sculptures that spring from these photos. I distill their images to lines or flat forms, and as I take them on journeys through mediums, further fragmenting and reusing prior iterations, I’m able to savor the fruits of my years of studio work, trusting myself enough to improvise. Always portraiture adjacent, my work has gone from an examination of the self as configured through the gaze of others, to searching for my own artistic expression through engaging with images of my fellow travelers."

Kerri Scharlin is an American artist who has shown nationally and internationally, including solo exhibitions at Postmasters, Wooster Gardens, Jose Freire, Kustera Tilton Gallery, and New Release in New York, as well as Schaper Sundberg Galleri, Stockholm. She was included in a three-person exhibition at David Zwirner, New York and other group shows at The Aldrich Museum of Art, Connecticut; The Institute of Contemporary Art, Philadelphia; Galerie Herve Mikaeloff, Paris; and Momenta, 303 Gallery, and American Fine Arts, Co. in New York. She also curated the exhibition “The Big Nothing or Le Presque Rien,” at The New Museum of Contemporary Art, New York. Scharlin's work has appeared in numerous international publications including The New York Times, Artforum, Frieze, Art in America, Vogue, Artnet, New York Magazine, The Village Voice, Flash Art, and Purple.