Adam Umbach

Another Garden Scene (Yellow & Pink)

2019

Impressionistic style painting of a bistro that could be anywhere in the world. Deep hues of blue. Acrylic and oil on Acrylic mounted on metal. The artist paints both sides to create unique depth. Finished with enamel to prevent yellowing if placed in the sun. About the Artist: Stuart Yankell...

Impressionistic style painting of a beach scene that could be anywhere in the world. Deep hues. Acrylic and oil on Acrylic mounted on metal. The artist paints both sides to create unique depth. Finished with enamel to prevent yellowing if placed in the sun. About the Artist: Stuart Yankell...

Homage to John Wayne. Oil on canvas. Conceptual. One of a kind. About the artist: “There's a dry ironic twist to Paul’s paintings that give the work — while realistic — a postm...

Oil on canvas. Engaging. Female centric. About the artist: “There's a dry ironic twist to Paul’s paintings that give the work — while realistic — a postmodern feeling of refl...

Oil on canvas. Narrative. Figurative. Female centric. About the artist: “There's a dry ironic twist to Paul’s paintings that give the work — while realistic — a postmodern fe...

Oil on canvas. Man on beach. About the artist: “There's a dry ironic twist to Paul’s paintings that give the work — while realistic — a postmodern f...

This is a painting of a group of men standing around on a beach waiting for instructions. Waiting for Instructions, Plinth (#400) 2008 Signed, l.r. Oil, enamel, and ink on canvas ...

In the series of paintings titled “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...

A cello is held up between the legs of its accompanying musician in a snowy landscape. Snow has collected on the protruding bits of Cello and on the tops of the musician's knees. Though we can't see the face of the musician, we see their bare arms, folding upwards, as if they have buried their face in their hands. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings...

A person reclines in a red striped lawn chair. The subject's body presses against the back of the hair, revealing a Notre Dame Fighting Irish logo on hi...

"Nanette (Back with Fence)" is a textural, contemporary figure painting by Knoxville based artist Eleanor Aldrich. Refusing engagement, the figure is turned away from the viewer. Further distance is created by a rugged representation of a chain link fence and layers of paint, enamel, and silicone. The only clue to the figure's gender is in the title, and the collision of industrial materials with a female representation provides a poignant conflict. Flashes of found paper provide hints of a t-shirt or other type of graphic clothing...

A feminine figure occupies the majority of the right side of this canvas, and though we can't see her face, we know that she is looking at the wall beside her. The wall is disheveled, seemingly covered with graffiti and a broken mirror hangs loosely at a precarious angle. -- Building on her previous show, Main Squeeze, which featured bodies pressing through the grid of lawn chairs, in “That Feeling When,” Aldrich expands the excess of materials to large figure paintings and small, overfilled sculptures. Aldrich uses thick materials that protrude from the surface, reminding the viewer that the paintings are not only physical objects in themselves, but also create the illusion of the picture. The work employs a risky excess of material that borders on uncontrollable; becoming metaphoric for barely controlled femininity, the attraction and repulsion of materialism, and the body pressing against constraints. The figures in the paintings are seen from behind or have turned away. The viewer is put in a place of questioning whether they are a voyeur or a co-viewer with the figure of something deeper in the picture plane. The full body paintings of young women based on Nancy Drew...