Eleanor Aldrich

LENTICULAR VANISH - textural optical illusion painting using caulk and enamel

2020

"In these works, Aldrich paints on surfaces that have been covered in uniform vertical strips of caulk. The textures don’t play into the subjects of these paintings so much as create a consistent 3D pattern across the whole surface of a wood panel covered with canvas. Two of the most interesting works in this style give us graphic renderings of domestic interiors laid out in blocks of color and elemental shapes. 'Kitchen Sink' and 'Ironing' depict counters, faucets and ironing boards through a distorted perspective that’s unnervingly deep and narrow, vertiginous and claustrophobic. The caulk brings lots of texture to these works, and Aldrich’s paint appears to be applied in chromatic washes of yellow, pink and blue that seem serene given their off-kilter surroundings. In fact, Aldrich uses the repeating vertical textures to create vividly colored lenticular illusions in these works, which only reveal themselves as viewers move past the paintings. In addition to their formal qualities and their narrative content, Aldrich’s works also comment on traditional gender roles in Western society. Her narrative portraits are mostly inspired by the covers of Nancy Drew novels. Drew, the “girl detective” who first appeared in print as a female counterpart to the Hardy Boys...

VIEW is part of an on-going series that explores the light and landscape in Tennessee. Hartman creates an image on paper then stretches a silkscreen on top of the image to create the...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

"He was beautiful without ever having spoken a word" stems from finding pattern and rhythm in the world around him. His paintings begin from finding places and ...

FAT BACK is part of the latest on-going series from Eleanor Aldrich. These "behind the lawn chair" vantage points provide Aldrich with the perfect subject matter to convey her mixed media approach. More info below: Eleanor Aldrich was born in Springerville, Arizona. A participant at the Skowhegan School of Painting and Sculpture in Maine, she also holds an MFA in Painting & Drawing from the University of Tennessee, Knoxville, where she currently lives. She earned her BFA in Painting & Drawing through the Academie Minerva (Groningen, the Netherlands) and Northern Arizona University, Flagstaff. She was a participant in the Drawing Center’s first Open Sessions. Eleanor has had solo shows in Boston, Nashville, Knoxville, Flagstaff, AZ, and at the University of Alabama. Her work has been shown at Saltworks Gallery (Atlanta, GA), the Drawing Center (New York, NY), Grin (Providence, RI) and Ortega y Gasset (New York, NY). Her work was chosen for 1708 Gallery’s ‘FEED 2013’ (Richmond, VA). She has been awarded an Endowment for the Arts through the Whiteman Foundation, and the Herman E. Spivey Fellowship. Her work has been included in New American Paintings and on Artforum. Aldrich's work is textural and alchemical; she matches materials – often industrial sealants – and techniques to the subject matter they look like, thereby approaching a likeness without realistic rendering. She attributes her appreciation of mystery and the possibility of transformation in her work to her Catholic upbringing, in which materials were transformed and images held power over life. Her work intersects modernist painting, her own experiences, and the physicality of the body. Sometimes her work is about the application – paint is combed, piped, sprinkled and sprayed, reflecting traditional feminine work and crafts. Often the subject matter acts as a metaphor. The lines of a lawn chair seat serves as a veiled reference to the grid, and its breakdown – presumably by human weight – to an imagined encounter with the human body. *Make sure to use the "view in a room...

"The Softball Player" is a prime example of how Eleanor Aldrich utilizes an impasto technique to create texture in an oil painting. Using techniques such as layering, scraping, and an additive technique with a grouting tool, Aldrich brings out common figurative subject matter that create paintings with a heartbeat. More info below: Eleanor Aldrich was born in Springerville, Arizona. A participant at the Skowhegan School of Painting and Sculpture in Maine, she also holds an MFA in Painting & Drawing from the University of Tennessee, Knoxville, where she currently lives. She earned her BFA in Painting & Drawing through the Academie Minerva (Groningen, the Netherlands) and Northern Arizona University, Flagstaff. She was a participant in the Drawing Center’s first Open Sessions. Eleanor has had solo shows in Boston, Nashville, Knoxville, Flagstaff, AZ, and at the University of Alabama. Her work has been shown at Saltworks Gallery (Atlanta, GA), the Drawing Center (New York, NY), Grin (Providence, RI) and Ortega y Gasset (New York, NY). Her work was chosen for 1708 Gallery’s ‘FEED 2013’ (Richmond, VA). She has been awarded an Endowment for the Arts through the Whiteman Foundation, and the Herman E. Spivey Fellowship. Her work has been included in New American Paintings and on Artforum. Aldrich's work is textural and alchemical; she matches materials – often industrial sealants – and techniques to the subject matter they look like, thereby approaching a likeness without realistic rendering. She attributes her appreciation of mystery and the possibility of transformation in her work to her Catholic upbringing, in which materials were transformed and images held power over life. Her work intersects modernist painting, her own experiences, and the physicality of the body. Sometimes her work is about the application – paint is combed, piped, sprinkled and sprayed, reflecting traditional feminine work and crafts. Often the subject matter acts as a metaphor. The lines of a lawn chair seat serves as a veiled reference to the grid, and its breakdown – presumably by human weight – to an imagined encounter with the human body. *Make sure to use the "view in a room...

Modern, abstract wood construction painting in mint green, teal, navy and sienna. Encaustic on wood panel 12 x 12 inches James O'Shea has been praised for years for his work as a co...

Wall hanging, Framed 16 X 20. Enamel measures 16 X 12 Dominic Mingolla (1922 – 1999) Mingolla created paintings in many different materials and genres. Best known for his large abstract expressionist watercolor paintings similar in style to Paul Jenkins and for his Enamel work. His work bears affinities both to Lyrical Abstraction and to Tachisme artists such as Nicolas de Staël, Serge Poliakoff, Andre Lanskoy, Hans Hartung, Jean-Paul Riopelle, Gustave Singier, Alfred Manessier, Roger Bissiere, "Lyrical Abstraction arose in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. These "lyrical abstractionists" sought to expand the boundaries of abstract painting, and to revive and reinvigorate a painterly 'tradition' in American art. At the same time, these artists sought to reinstate the primacy of line and color as formal elements in works composed according to aesthetic principles – rather than as the visual representation of sociopolitical realities or philosophical theories." "Characterized by intuitive and loose paint handling, spontaneous expression, illusionist space, acrylic staining, process, occasional imagery, and other painterly techniques, the abstract works included in this exhibition sing with rich fluid color and quiet energy. Artists associated with Lyrical Abstraction include: Natvar Bhavsar, Lamar Briggs, Friedel Dzubas, Sam Francis, Ronnie Landfield, Pat Lipsky...

Crystal Acrylic, Color Pigments and Aluminium Hand signed and dated by the artist at the back

Mary Scott Oscillation (III) Original Abstract Painting, Abstract, Affordable Contemporary Art Acrylic Paint, Pencil and Gold Leaf (Silver Finish) on Board ...

Mary Scott Oscillation (I) Original Abstract Painting Acrylic Paint, Pencil and Gold Leaf (Silver Finish) on Board Board size: H 50 cm x W 40 cm x D 0.5cm F...

Titled: Chants. Hand signed and dated. Sonja Kuhfahl (1928-) is a German born woman artist. She began her art career studying fashion design in Europe,...