I have been recently introduced to this fabulous artist, while doing my research of very hip POP Female artists.
I hope you love her work!
have a great day!
Love,
Jamie
In addition to being a novelist, a former professional wrestler, and a playwright, Drexler was a painter who showed in New York.
Drexler is more than a special case; as a master of edgy fiction, theater, and painting, her talents and accomplishments add up to a unique combination that no one, can rival.
And, to go even further, she has never become a celebrity and continues to refuse the temptation of turning 
into a cause celebre. Such independence has made her a cult figure unlike any other. In no-brow America, this is about as good as it gets.
Drexler’s work ranges from small painting-collages to large oils and acrylics, all done when Roy Lichtenstein and Andy Warhol were making their first breakthroughs about subject matter, as well as hardening what they did into a smooth, machine-like style. It is clear that Drexler belongs right in there with them, and doesn’t lose anything in the comparison
One telling difference is in her subject matter, which is derived primarily from films and other mass media, and the way Drexler marries it to the paint.
Drexler’s subjects include , mugging, a vampire biting the shoulder of his victim, lovers embracing, a couple making love, and a woman straddling a man while scratching his eyes out and
wrestling him for a gun. One could easily imagine dozens of young art historians and curators writing furiously on the relationship between these paintings and Michel Foucault’s theory that all relationships are about power. But that would ignore these works as paintings, and that Drexler is interested in what images can tell us through the medium of paint.
Drexler isolates her figures, which are always doing something, against a bright monochromatic ground, often red, blue, or yellow. When she divides the painting into distinct rectangles framed by a white band, each area might
be a different solid color. The ground is both flat and spatial, which the artist further exploits through the poses of her figures
House of Turquoise