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Eleanor AldrichIN THE ROAD - Textural Figure Painting - Oil and Enamel on Panel - Light Blue2020
2020
About the Item
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 mystery book covers offer seductive form and richness, but on closer examination are a shell of hair and clothing. She seems to be both a knowing participant in the image; half posing for the viewer, and half involved with what is happening within the image. Like the paint that builds her she is part physical reality and part illusion. The campiness of the image becomes a cover and metaphor for real fear. The figures in the lawn chairs, hammocks, and the sculptural objects offer a protrusion of material that is at times satisfying, repulsive, and funny. The viewer is confronted with the social taboos of a body or substance that exceeds its bounds, meditations on the nature of reality and illusion, and a more acute awareness of the self as a viewer.
- Creator:Eleanor Aldrich (American)
- Creation Year:2020
- Dimensions:Height: 30 in (76.2 cm)Width: 40 in (101.6 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Signal Mountain, TN
- Reference Number:1stDibs: LU98517025822
Eleanor Aldrich
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, and works in a long-distance collaboration ALDRICH & WEISSBERGER with the artist Barbara Weissberger. 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 and White Space (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 reviewed in Art in America and on Artforum. Statement: My work is about the places where the concerns of modernist painting meet my own experiences and the physical reality of the body. Sometimes the encounter is in the application – paint is combed, piped, squished, and sprayed, and paper transfers are rubbed off; playing with ideas of femininity and the purity of paint. The material squeeze invites the empathy of the body and is at times funny, beautiful, revolting, and satisfying. The grid appears as a support- a resist that molds the material as it presses through. In this way the material is metaphoric of conformity and issues of control over one’s body.
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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.
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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...
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ON THE ICE - Textural figure painting - Oil and Enamel on Canvas Red, Polka-Dot
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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...
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2010s Contemporary Mixed Media
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Enamel
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FAT BACK - Contemporary Figurative/Abstract Oil Painting, texture, mixed media
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Located in Signal Mountain, TN
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.
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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...
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$1,100 Sale Price
21% Off
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