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Issy Wood

Issy Wood (born 1993) is an American-born, London-based multidisciplinary artist renowned for her sardonic paintings, , and introspective writing that blend classical techniques with contemporary themes of , , and . Born in , and raised in , Wood has established a prominent practice in , where she explores the tensions between intimacy and detachment in a digital age. Wood earned a BA in and from , in 2015, followed by an MA from the Royal Academy Schools in 2018, during which she began painting as a form of personal expression amid emotional challenges. Her artistic style, often described as "medieval millennial," features oil paintings on or with extreme close-ups of luxury items, family heirlooms, and figurative subjects drawn from catalogs and inherited objects, evoking a nightmarish influenced by Kafkaesque tones. These works critique modern devotion to , portraying objects with a visceral tenderness that highlights themes of mortality and power dynamics. In music, Wood has released six EPs on Zelig Records along with the self-released album My Body Your Choice (2022) after leaving the label, and more recently Accidental American (2024), collaborating on videos with figures like . Her writing includes self-published diaries such as Queen Baby (2022), which delve into personal reflections and complement her visual and sonic outputs. Career milestones include her first solo exhibition "All the Rage" at the Goldsmiths Centre for in 2019, followed by "Time Sensitive" at Michael Werner Gallery in in 2022, and group shows at institutions like , , and MoMA Warsaw. She presented the solo exhibition "Study For No" at Anticipations in from October 2023 to January 2024, and in fall 2025, "Magic Bullet" at Schinkel Pavillon in , solidifying her reputation as a rising force in . Represented by galleries including Carlos/Ishikawa in and Michael Werner Gallery internationally, Wood's oeuvre continues to evolve across mediums, maintaining a critical distance from overt while engaging deeply with relational and societal terrors.

Early life and education

Early life

Issy Wood was born in 1993 in , , to British parents who were both doctors. Her family returned to just two months after her birth, and she was raised in . Growing up in a of medical professionals, Wood was surrounded by medical journals and paraphernalia, which influenced her early perceptions of human vulnerability and imperfection. Wood spent much of her in hospitals and psychiatric units, further shaping her understanding of human fragility. She has reflected on her parents' careers shaping her views, noting from childhood that "doctors aren't perfect" despite their control over human life. This environment, combined with her American birth and British upbringing, contributed to her dual cultural perspective. As a teenager, Wood began exploring creative pursuits, including messing around in a band, which marked her initial foray into . She has described herself as a "medieval millennial," a self-characterization that encapsulates her sardonic outlook formed during these formative years. This period of adolescence, spent largely in , laid the groundwork for her later integration of , , and writing as interconnected practices.

Education

Issy Wood earned a in and from , in 2015. During her undergraduate studies, Wood explored foundational artistic practices, laying the groundwork for her interest in visual media and art historical contexts. Following her BA, Wood enrolled in the Royal Academy Schools in in 2015, completing a in 2018. At the , she initially focused on and but was encouraged by a tutor to pivot toward , which she initially approached with reluctance yet recognized as her strongest skill. This period marked the development of her painting techniques, emphasizing figurative works that captured everyday objects in surreal, confined compositions. Wood's time at the Royal Academy also introduced early multidisciplinary elements to her practice, as she began integrating conceptual approaches that would later extend to and writing. Notably, while still a student, her paintings attracted the attention of gallerist Vanessa Carlos, who represented her through Carlos/Ishikawa before her , providing early professional validation. No specific awards from her are documented, though her RA projects highlighted her emerging style of tragicomic, alienation-themed imagery.

Career and creative output

Visual arts

Following her graduation from the Royal Academy Schools in 2018, Issy Wood emerged as a painter specializing in figurative works, often drawing from personal and cultural imagery to create oil paintings on linen and other supports. Her practice gained prominence through a series of solo exhibitions that marked key milestones in her career. In 2019, she presented her largest solo show to date, All The Rage, at the Goldsmiths Centre for Contemporary Art in , featuring paintings that explored everyday objects and interiors. This was followed by daughterproof at JTT in in 2020, where she exhibited nine new paintings alongside sculptural elements. Among her notable outputs is the 2019 painting Attempt to please my parents w/ flowers, an oil on linen work depicting a floral arrangement in a domestic setting, which was acquired by the RISD Museum for its permanent collection. Wood's career advanced further with gallery representations, including Michael Werner Gallery, which has presented her solo exhibitions such as Time Sensitive in in 2022. She also debuted in the Asian market at Seoul in 2023, with works shown through her London gallery Carlos/Ishikawa and a concurrent solo exhibition, , at the Ilmin Museum of Art in . Her practice continues to evolve, with recent exhibitions including Wet Reckless at Michael Werner Gallery in Beverly Hills from February to May 2025, featuring new works.

Music

Issy Wood entered the music industry in 2019 by signing with Zelig Records, the label founded by producer , marking her transition from to electronic-pop production. Her debut single, "Debt," released on November 20, 2020, featured a doleful synth-driven sound that hinted at her emerging style of , atmospheric pop. This was followed by her first EP, Cries Real Tears!, issued on December 4, 2020, via Zelig Records, which included tracks like "Cry/Fun" and "Hell," produced with a focus on raw emotional delivery using minimal instrumentation such as a Juno-106 . Wood's follow-up EP, If It's Any Constellation, arrived on April 13, 2021, expanding on her debut with songs co-produced by Ronson, including the lead single "Muscle," for which she directed the official music video. After parting ways with Zelig, she self-released subsequent works. By 2022, she had released a total of six EPs, characterized by an electronic-pop aesthetic that blends hypnagogic elements with indie sensibilities, often serving as a mechanism for personal coping amid isolation and emotional turmoil. That year also saw the release of her first full-length album, My Body Your Choice, a 12-track LP that solidified her presence in the indie pop scene with its uncanny, synth-heavy compositions exploring relational dynamics. In 2024, she released her second album, Accidental American, further developing her introspective style. Throughout her releases, Wood has integrated audio-visual by directing several herself, such as those for "Fuss" (2021) and "Disaster / Lucky" (2021), which echo the surreal, narrative-driven qualities of her multidisciplinary practice overlapping with . This approach underscores her holistic creative output in the music industry, where she independently writes, records, and produces much of her material in home studios.

Writing

Issy Wood's writing practice centers on sharp, diaristic that forms a core element of her multidisciplinary work, often originating from entries maintained since her teenage years. This prose style is characterized by a raw, unfiltered quality, blending humor, , and keen observations of daily life. By 2022, Wood had produced four volumes of these diaries, published as thin, raw artist books through her gallery Carlos/Ishikawa, serving as memoirs deeply tied to her personal experiences during periods of isolation and anxiety, such as the . The fourth volume, Queen Baby (2022), compiles entries from January 2021 to March 2022, capturing a range of unedited emotions including excitement, dread, and jealousy. Subsequent publications include SML PTNGS: Vol. 3 (2023) and Magic Bullet (2025), a compilation of diaristic texts accompanying her exhibition at Schinkel Pavillon. Wood has also contributed texts to exhibition catalogs, notably including her own writings in the publication accompanying her 2022 show Time Sensitive at Michael Werner Gallery, where her prose complements the visual elements of the . Throughout her writing, Wood employs it as a coping mechanism to navigate and emotional turmoil, fostering themes of and surreal that collapse time and blend with dreamlike . This textual output integrates briefly with her music and to create a holistic expression of her inner world.

Artistic style and influences

Style and themes

Issy Wood's artistic style is characterized by a seamless blend of and , often manifesting in a nightmarish aesthetic that juxtaposes hyper-detailed, photorealistic elements with dreamlike distortions. Her paintings frequently employ views of mundane or intimate subjects—such as mouths, sinks, or consumer objects—rendered with a glossy, velvety finish that evokes both tactile allure and subtle unease, drawing on classical techniques while subverting them through contemporary, internet-sourced imagery. This approach creates an absurdist tension, where familiar forms are recontextualized into something and provocative. Central to Wood's work is a sardonic tone infused with a "medieval millennial" , which synthesizes historical motifs of and with modern millennial anxieties about and . Her compositions often feature a foreboding stream-of-consciousness quality, as if capturing fragmented thoughts that hint at underlying dread, such as in depictions of time-obsessed domestic scenes or bodily vulnerabilities that suggest personal coping mechanisms amid emotional turmoil. Themes of sensual-sinister imagery recur prominently, portraying objects and figures with a mix of erotic appeal and latent threat—for instance, pills or sore gums rendered in a way that blurs desire and discomfort, underscoring the "terrifying" aspects of human longing. Across her multidisciplinary practice, these stylistic and thematic elements cohere to explore emotional , with , , and writing forming a unified exploration of , dynamics, and relational intimacy. In her music, sardonic lyrics and haunting melodies echo the paintings' uneasy sensuality, while her writing amplifies the stream-of-consciousness motifs into narrative fragments that confront personal and societal disquiet. This interconnectedness positions Wood's oeuvre as a cohesive on how vulnerability manifests in both private reverie and public consumption.

Influences

Issy Wood's artistic practice was profoundly shaped by her education in the UK art scene, particularly at Goldsmiths, University of London, where she earned a BA in Fine Art and History of Art in 2015, and the Royal Academy Schools, where she completed an MA in 2018. At Goldsmiths, exposure to faculty like Mark Leckey encouraged her to explore painting as a medium of personal expression amid the institution's emphasis on conceptual and multimedia approaches, fostering her shift toward figurative work that blends introspection with visual narrative. The Royal Academy's rigorous training in classical techniques further honed her figurative approach, prompting a pivotal transition from video and sculpture to oil painting on velvet, which she credits with unlocking a more urgent and layered creative process. Surrealist traditions form a foundational pillar of Wood's oeuvre, evident in her distortion of everyday objects into psychologically charged scenes that evoke unease and dreamlike ambiguity, drawing parallels to the uncanny distortions of artists like . She also grounds her work in historical painting techniques, incorporating alla prima methods and photo-realistic elements reminiscent of Francisco Goya's and Lee Lozano's raw figuration, which inform her synthesis of past and present. These influences manifest in her sardonic exploration of desire and decay, recontextualizing classical forms for contemporary critique. On a personal level, Wood draws from millennial culture's digital mediation and consumerist anxieties, self-identifying as a "medieval millennial" to describe her infusion of contemporary existential tensions into ornate, historical aesthetics inspired by medieval iconography and inherited objects. Her diaristic writing traditions stem from literary figures like , , and , whose confessional, introspective styles emphasize vulnerability and humor, influencing her raw, unfiltered publications that parallel her visual and sonic outputs. Multidisciplinary inspirations extend to electronic-pop music genres, where Wood incorporates glitchy beats, 1980s instrumentation, and fragmented production akin to Billie Eilish's , alongside early encounters with and the that fueled her performative introspection across mediums. These sonic elements, combined with literary emphases on inner turmoil, reinforce her holistic practice as a mechanism for processing personal and cultural disquiet.

Exhibitions and collections

Solo exhibitions

Issy Wood's solo exhibitions have showcased her evolving painting practice, often featuring or velvet works that explore themes of , , and personal . Her breakthrough institutional presentation, All The Rage (2019), at the Goldsmiths Centre for Contemporary Art in , occupied four gallery spaces and featured over 20 paintings drawn from digital imagery of , , and everyday objects, examining the apathetic of a networked society through tragicomic vignettes. In 2020, daughterproof at JTT in marked Wood's first solo exhibition in the city, presenting nine paintings and a that delved into emotional vulnerability and gendered expectations, including works like Swan / He won't 2 (2019), which depicted fragmented figures in states of distress amid motifs of beauty and control. Time Sensitive (2022) at Michael Werner Gallery in highlighted new paintings sourced from estate catalogues, , and personal archives, blending intimacy and detachment to capture transient moments like isolated body parts or luxury items, evoking a smartphone-mediated gaze on everyday simulacra. Study For No (2023) at Lafayette Anticipations in was Wood's first solo exhibition in , featuring over 60 works including paintings, sculptures, and installations that examined refusal and negation through fragmented imagery and personal motifs. I Like to Watch (2023) at the Ilmin Museum of Art in marked her Korean debut, presenting paintings that explored and interpersonal dynamics with sardonic close-ups of figures and objects. The 2024 exhibition What I Eat In A Day at in was her first large-scale display of small-format works, comprising closely cropped canvases that offered intimate snapshots of daily life—such as food, gestures, and personal artifacts—revealing fragments of her inner world and creative process against the venue's industrial tanks. In 2025, Magic Bullet at Schinkel Pavillon in presented her first major solo institutional show in , featuring over 25 oil paintings on canvas and velvet, alongside an of painted instruments; the title derives from a companion publication of diaristic texts, chronicling millennial anxieties through "perverse " in motifs of and futility (September 11, 2025–January 31, 2026). Wet Reckless (2025) at Michael Werner Gallery in Beverly Hills explored seductive yet dangerous objects like and guns in new paintings on , drawing the title from California's legal term for impaired but not fully intoxicated driving, emphasizing minimal details that convey peril and allure (February 15–May 17, 2025).

Group exhibitions

Issy Wood has actively participated in group exhibitions across international venues, often integrating her psychologically charged paintings into broader dialogues on . These presentations have highlighted her ability to engage with diverse artistic contexts, from museum collection displays to art fair booths, fostering connections between her work and that of established and emerging peers. In late 2023, Wood was featured in A Lover's Discourse at the Aspen Art Museum in , a series of artist-led pairings that juxtaposed her Lovers (2023)—depicting characters and amid a dense —with Fernando Botero's 1982 oil Lovers, exploring intergenerational themes of intimacy and distortion. The exhibition ran from December 14, 2023, to February 25, 2024, emphasizing unexpected visual and conceptual affinities. That same year, Wood debuted at Frieze Seoul in , represented by Carlos/Ishikawa's booth, where her A lot of missionary (2023) drew attention for its bold, voyeuristic on interpersonal , aligning with the fair's on playful yet provocative contemporary works. This appearance coincided with heightened in her practice during Seoul Art Week. Wood's inclusion in international group contexts has extended to venues like the National Portrait Gallery's reopening collection display in that year, integrating her portraits into a refreshed of and likeness.

Collections

Issy Wood's works are held in several prominent institutional collections, reflecting her rising prominence in . The Institute of Contemporary Art, , includes pieces from her oeuvre in its permanent collection, acquired in the years following her breakthrough exhibitions in the late . The Zabludowicz Collection in features Wood's paintings, acquired as part of its commitment to emerging British and international talents since the early 2020s. Additionally, the National Portrait Gallery in acquired Self portrait 6 (2021), an oil on work that captures Wood's introspective self-representation and was integrated into the collection post-2020 to highlight contemporary female portraiture.

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