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Nina Mae Fowler Artist

@ninamaefowler

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Very proud to be featured in « must-sees in galleries » @theartnewspaper.france as reviewed by Patrick Javault:

Nina Mae Fowler takes as the subjects of her drawings photographs of film stars—consensual or stolen—as well as film stills framed or reframed around them. Well-known or rare images are reproduced in pencil with extreme precision, alongside a meticulous exploration of tonal gradations in greys and textures. Fowler says she uses the eraser as much as the pencil to achieve these effects. The Celluloid Studio was conceived as a long frieze of 24 drawings (24 being the number of frames required to make one second of film), each bordered by two vertical bands of black paint that correspond exactly to the tone of celluloid film stock. It is both the equivalent of a restaurant or club décor and of a cinematic sequence, bringing together film characters and actors appearing as themselves. Like an invocation of Andy Warhol, Marilyn and Liz—Marilyn Monroe and Elizabeth Taylor—each emerging from hospital in a wheelchair, appear at the opening.

The long sequence is a beautiful one: it lets pass the possessed gaze of Oliver Reed, the devastated look of Lee Remick, Judy Garland singing dressed as a clown on her television show, or Lana Turner behind dark glasses at her daughter’s trial. The early 1970s seem to mark the cut-off point. Two unidentified images of communal showers also find their place here, one of them echoed by a close-up detail.

Nina Mae Fowler also presents two very large-scale drawings: one depicting Susan Tyrrell in a memorable scene from Fat City, the other Jean Seberg in Lilith. Two actresses who experienced drama or tragedy, on or off set. Fowler magnifies them and, through the intensity of her line, suggests the power these images hold over her.

@galerie_suzanne_tarasieve by @ninamaefowler

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8 months ago

We went to Houston with 9 new works and we came home with 2 ⚡️⚡️⚡️⚡️all credit to The Gillian Jason Gallery for setting up the installation exactly as I had envisioned and cheerleading my work in the US for the first time :::: See the last 2 available drawings via the link in my bio 🔝
All enquiries to @gillianjasongallery by @ninamaefowler

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8 days ago

Here are a series of the ‘Fan Girl’ drawings hung in the home of a new Houstonian collector ::: I have visions of modern day Scarlett O’Hara’s running down this staircase and causing all the feathers to undulate in their wake ::: the most special thing for me is keeping the majority of the collection together. I tend to work in series and of course a sale of a work is perpetually exciting and I create them to be enjoyed individually. However seeing them here together, where they will retain their presence as a group and an experience is a real thrill.

@gillianjasongallery by @ninamaefowler

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a day ago

Thank goodness I only had the one glass of @ruinart last night 🕳️ a very special and generous evening celebrating this extraordinary champagne (‘la plus ancient maison’) and their commitment to supporting the arts ::: most recently a collaboration with @tadashi.kawamata whose work I had the great pleasure of discovering last night.
@carolineissa
@sessionsartsclub
#annamagnani by @ninamaefowler

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3 days ago

I have always loved this portrait of Emeli Sandé my husband Craig Wylie painted in lockdown via zoom :::: it’s currently on display @chicagoartfair with @jonathancoopergallery

I think should be in @nationalportraitgallery as Emeli is one of Britain’s most extraordinary living musical talents and an inspiration in so many ways which, to me, this portrait captures ⚡️⚡️@emelisande

#emelisandé by @ninamaefowler

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8 days ago

I have to end the series with the one I started with. It will always be Judy for me and that lonely cup in front of her says it all ::: Born Frances Ethel Gumm in Grand Rapids, Minnesota, Judy Garland performed from early childhood and was signed to MGM at thirteen. The studio controlled her weight and punishing schedule, introducing drugs that contributed to a lifelong dependency. She died from an accidental overdose aged 47. In the drawing, Garland appears barefoot and apparently in nightclothes, arms raised before a microphone. The white feathers restore spectacle to this unusually exposed figure, dressing her for the stage. They simultaneously conceal and enable her — a vulnerable woman requiring enormous stamina to sustain the performance.

Fan Girl: Judy, 2026
signed and dated
pencil on paper, linen, eyelets, ostrich feathers
80 x 60 x 2 cm
#ninamaefowler
#judygarland by @ninamaefowler

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10 days ago

Shelley number 2 - Born Shirley Schrift in St. Louis, Shelley Winters was initially promoted by Hollywood as a blonde bombshell, but deliberately pursued more complex, less glamorous roles, eventually winning two Academy Awards. In the source image, boxing gloves collide with fishnet stockings and heels: Winters is simultaneously fighter and pin-up. The white ostrich feathers heighten this contradiction, creating a frivolous showgirl skirt around a woman posed to fight. They conceal the sexualised body Hollywood expected Winters to display while revealing something altogether more combative underneath.

Fan Girl: Shelley, 2026
signed and dated
pencil on paper, linen, eyelets, ostrich feathers
80 x 60 x 2 cm
#ninamaefowler
#shelleywinters by @ninamaefowler

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11 days ago

I have always loved Shelley Duvall - forever pushing against convention. She was the start of this series being born in Fort Worth and raised in Houston. She entered acting almost accidentally after being discovered by Robert Altman’s team. Her distinctive appearance and performances resisted conventional Hollywood ideals of female beauty. In the drawing, Duvall makes a defiant but smiling two-fingered gesture towards the camera. White ostrich feathers form a skirt around her waist — invoking glamour, showgirls and striptease — yet her trousers remain clearly visible beneath. The feathers attempt to dress her for feminine spectacle while Duvall’s gesture turns the gaze back upon the viewer.

Fan Girl: Shelley II, 2026
signed and dated
pencil on paper, linen, eyelets, ostrich feathers
80 x 60 x 2 cm
#ninamaefowler #shelleyduvall by @ninamaefowler

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12 days ago

Born Tula Ellice Finklea in Amarillo, Texas, Cyd Charisse began dancing after contracting polio as a child, initially to rebuild her strength. She became one of MGM’s great dancers, celebrated for a combination of extraordinary physical control and sexual allure. In the drawing, Charisse is poised en pointe, her body almost architectural in its discipline. Black ostrich feathers erupt from her waist into an extravagant, almost predatory silhouette. They amplify the sensuality projected onto her body while concealing the strength beneath it, transforming the dancer into something at once glamorous, animalistic, dangerous and vulnerable.

Fan Girl: Cyd, 2026
signed and dated
pencil on paper, linen, eyelets, ostrich feathers
80 x 60 x 2 cm
#ninamaefowler
#cydcharisse by @ninamaefowler

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13 days ago

Born in Cleveland and raised in Harlem, Ruby Dee combined a seven-decade acting career with writing and civil-rights activism, often refusing to separate her political convictions from her artistic life. The drawing depicts Dee in a publicity still for Buck and the Preacher (1972), capturing a tense moment with her unsmiling gaze. The black feathers initially appear to obscure her body but instead lead the eye towards the sharp object in her hand. Concealment becomes revelation: the seductive, decorative plumage gives way to something potentially threatening. Rather than softening Dee, the feathers sharpen her presence, transforming glamour into a suggestion of hidden strength.

Fan Girl: Ruby, 2026
signed and dated
pencil on paper, linen, eyelets, ostrich feathers
80 x 60 x 2 cm
#ninamaefowler
#rubydee

Enquiries @gillianjasongallery by @ninamaefowler

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13 days ago

Born Norma Jeane Mortenson in Los Angeles, Monroe descended on her mother’s side from a Midwestern family with roots in Indiana and Missouri. An unstable childhood preceded her transformation into Hollywood’s most enduring image of female sexuality, although Monroe increasingly fought for greater control over her work. In the drawing she is caught running in a backstreet behind the studio lot, far from the immaculate fantasy. The white feathers pursue her like an unwanted piece of Hollywood glamour as she puts in the real work it takes to maintain her image: simultaneously dressing and obstructing her, they suggest the Marilyn persona as something attached to Norma Jeane — an image she could inhabit but never entirely escape.

‘Fan Girl: Marilyn’, 2026
signed and dated
pencil on paper, linen, eyelets, ostrich feathers
80 x 60 x 2 cm
#ninamaefowler
#marilynmonroe

Now on show @untitledartfairs Houston
B22 @gillianjasongallery by @ninamaefowler

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13 days ago

Texas drop by @ninamaefowler

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14 days ago