In May 2011, Damian Loeb debuted a new series of figurative paintings at Acquavella Galleries titled Verschränkung and the Uncertainty Principle.
The show consists of eight paintings based on a series of images he took of his wife Zoya over the past seven years.
The title references paradoxes in quantum physics, wherein subject and object are rendered indistinguishable, (Verschränkung) and that the act of observation affects the object being observed (the Uncertainty Principle).
The theory is used as a metaphor to examine the false barrier of safety imagined by observers and their culpable connection to the objects being scrutinized; as well as between artist and muse.

The paintings are reminiscent of Old Master portraits, though their apparent spontaneity belies the amount of work needed to create each, in the use of chiaroscuro, glazing, and classic composition.
Typified by the up-stretched hand in early morning sun, the subject of Atmosphere (2010), these paintings have the  ambiance of 17th century Baroque artist Georges de La Tour and the quiet tension of Gerhard Richter's photo-based work.
All composed in square format, they depict the intimate moments of a life's narrative.
Tension and melodrama are created by activating the relationship connecting the image and viewer through the inclusion of the optical vocabulary of cinematography and the allusion to the constraints of the instant polaroid.
Thus bringing into question the act of voyeurism and the anticlimactic and revelatory nature of privacy.
 Gone is the rough, almost pixelated canvas of his previous work, instead for these new paintings Loeb used a more traditional, smoother linen, which more readily show off his unique skills as a craftsman, as well as an iconic image maker.
In May 2011, Damian Loeb debuted a new series of figurative paintings at Acquavella Galleries titled Verschränkung and the Uncertainty Principle. The show consists of eight paintings based on a series of images he took of his wife Zoya over the past seven years. The title references paradoxes in quantum physics, wherein subject and object are rendered indistinguishable, (Verschränkung) and that the act of observation affects the object being observed (the Uncertainty Principle). The theory is used as a metaphor to examine the false barrier of safety imagined by observers and their culpable connection to the objects being scrutinized; as well as between artist and muse.
The paintings are reminiscent of Old Master portraits, though their apparent spontaneity belies the amount of work needed to create each, in the use of chiaroscuro, glazing, and classic composition. Typified by the up-stretched hand in early morning sun, the subject of Atmosphere (2010), these paintings have the  ambiance of 17th century Baroque artist Georges de La Tour and the quiet tension of Gerhard Richter's photo-based work. All composed in square format, they depict the intimate moments of a life's narrative. Tension and melodrama are created by activating the relationship connecting the image and viewer through the inclusion of the optical vocabulary of cinematography and the allusion to the constraints of the instant polaroid. Thus bringing into question the act of voyeurism and the anticlimactic and revelatory nature of privacy.  Gone is the rough, almost pixelated canvas of his previous work, instead for these new paintings Loeb used a more traditional, smoother linen, which more readily show off his unique skills as a craftsman, as well as an iconic image maker.
Damian Loeb