Eleanor Aldrich

The Bicycle

2018

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...

"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...

REDSKIN is one of eight pieces in Nashville based artist Omari Booker's series for his solo show “Red Line” at Channel to Channel. Booker’s new series of work is centered around the...

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...

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...

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 Police, unique painting on panel with black frame. Enamels and acrylics, hand-signed. Realized in 2018. Dimensions with frame: approximately 76 x 86 cm.

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 ...

Home at Last (#1025) 2023 Signed, titled, and dated, verso Oil, enamel, and acrylic on canvas 56 x 52 inches This work is offered by CLAMP in New York City.

Oil, enamel, oil pastel on wood

Red No. 2 by artist Loretta Hirsch is a black, red, and brown contemporary figurative oil and enamel on canvas that measures 64 x 40 and is priced at $5,000. Born in Oklahoma and ed...

Among my swan, 2018 by Ramonn Vieitez Oil, enamel, acrylic, latex on canvas Size: 39.4 H x 27.6 W in. Signed on the back by the artist Unframed ___ Ramonn Vieitez is a self-taught B...