Location & Hours

• Schanzeneckstrasse 3
3012 Bern, Switzerland
• Friday & Saturday
12:00 - 18:00
*******OPEN 11:00 - 17:00 UHR DURING BERN GALLERY WEEKEND
• Tuesday - Thursday
by appointment

Contacts

WhatsApp/SIGNAL
• +41 76 506 48 08 (we prefer the privacy of the latter)
Instagram
• @gallerykendrajaynepatrick
Email
• info@gallerykendrajaynepatrick.com

What We Do


Press


Artists

• MANUELA MORALES DÉLANO
• ADA FRIEDMAN
• CONSTANZA CAMILA KRAMER GARFIAS
• ANDRÉ MAGAÑA

Current

Bern Gallery Weekend/Bern Galerie Wochenende 2026 House Party
group exhibition
• Bern
Saturday & Sunday
17 & 18. January. 2025
vernissage is Saturday the 17th from 18:00

Forthcoming

Tunji Adeniyi-Jones, Zak Prekop, Uli Okujeni
Bern
10. April - 22. May 2026
vernissage: 10. April 2026

Independent 2026
New York City

André Magaña
Bern
29. May - 11. July 2026
vernissage: 29. May 2026

Constanza Camila Kramer Garfias
Basel
June 2026

Twenty First Century Occupational Adjustments and Considerations, EPISODE: 8: I Wanna Sex U Up?
Bern
September 2026

Art Fairs


Past Exhibitions


Seasonal Newsletters


ADA FRIEDMAN 
A Suite of Five Paintings 
Art Basel Miami Beach 2023 presentation 
6 - 10 December 2023 

CURRICULUM VITAE
REQUEST PREVIEW

 

PRESS RELEASE
We are proud to present A Suite of Five Paintings by gallery artist Ada Friedman. Works included are all part of her ‘Pathwork’ series (2022-present). Friedman makes untraditional paintings, with most works hosting one discreet painting on either side of its multi-surfaced structure. Pairs are intimately bound by Friedman’s acute senses of color, structure, and material coordination.

Paper is Friedman’s prima materia, for its versatile malleability. The shapes of her paintings are deftly carved from large swaths of it. She recently showed an exhibition of works that she calls “the pyramid paintings,” all of which are shaped like relaxing isosceles triangles. Although each painting lives within the same overall shape, Friedman positions their angles differently. She often works in series like these, wherein similar geometries separately thrive because decisive paint and gesture define and differentiate them from one another.

Into these large, sturdy, irregularly shaped pieces of paper, Friedman fully integrates intermittently collected and discreetly organized stuff. These items are not adhered to completed, painted surfaces; her works are not collages. Instead, lighting gel or a found doily is a necessary structural component of the entire plane on which any two paintings live.

Her organic sensations of color and brushwork thoroughly define these works as paintings. In many ways they are bare-faced; the artist’s hand and process is on full display. Underpainting, overpainting, note taking, fortifying, and erasing are all plainly legible amidst decisive color coordination.

Friedman takes nothing for granted, starting with her work’s substrates. Paper and all are situated in service to the sure-footed yet searching specifics of gesture and color theory in Friedman’s fresh approach to Abstraction. She deals with Abstraction in the originary sense; not merely as a description of non-figurative play, but Abstraction as the elusive search for a universal language to speak of the condition of experience.



Performance Proposal, Pathwork: Wall, 2022-2023
181 x 68 x 1.5 in.
459.74 x 172.72 x 3.81 cm.



Performance Proposal, Pathwork: Threshold 2, 2023
83.75 x 77.75 x 1.50 in.
212.72 x 197.49 x 3.81 cm.


Performance Proposal, Pathwork:  Threshold 3, 2023
83.75 x 77.75 x 1.50 in.
212.72 x 197.49 x 3.81 cm.