Grace Weaver’s most recent oil paintings depict young women engaged in mundane activities, often alone, occasionally in company, sometimes in public, then at home. Rendered in light-pink flesh tones, the larger-than-life figures bend and twist their bodies to fit into generously dimensioned pictorial spaces. They pick laundry up off the floor and sort it, chill among bottles and fast food, or sit staring at their laptops and smartphones. The prose of 21st-century life, balancing between profound tedium and indolent comfort, frames their existence. In “Hotel Amour,” Weaver’s first edition for TEXTE ZUR KUNST, it may be the Mediterranean heat that has prompted the couple in the picture to turn their backs on each other, each of them absorbed in their own book rather than engaging in more sweat-inducing activities. As with some of the protagonists who encounter each other in Henri Matisse’s flat and intensely colorful interiors, the tension between the figures shifts with each new look, building and dissipating. The red towel in front of the bare leg of Weaver’s foregrounded reader conjures pop-cultural references: Brigitte Bardot’s character in Jean-Luc Godard’s “Le Mépris” (Contempt, 1963), a relationship drama propelled by sexual desire and boredom shot in Mediterranean sceneries, uses just such a towel to cloak and expose herself. The edition’s motif is one in a new series of works that the Brooklyn-based artist will present in Galerie Max Hetzler’s Paris location in January 2024.