Franco Angeli

Tebe

1987

LUPIN & GOEMON Acrylics and enamel on canvas Signed bottom right Photo certificate by the artist

NOTTURNO
 
 metà anni ’80 Tecnica mista su tela Mixed media on canvas cm 130 x 100 Firma e titolo sul retro Signed and titled on the reverse Opera autentica e registrata presso...

CUORE 2004 Tecnica mista su carta applicata su tela Mixed media on paper, on canvas cm 75 x 53 Firma e anno in alto a sinistra. Al retro firma e dedica Signed and dated higher righ...

BLANK ZONE 2002 Oil on canvas Signed and dated lower right, titled signed and dated on the reverse Photo certificate issued by the artist

DEDICATO: A FRANCO 1984 Acrilico, coriandoli e plastica su tela Acrylic, confetti and plastic on canvas cm 137 x 100 Firma e data su retro “Festa 84 a franco ” Signed and dated...

DALL’ULTIMO PROGRAMMA NOTTURNO
 1973
 Serigrafia su tela Screen-print on canvas cm 40 x 30 Edizioni Multied Multied Editions Firma sul retro: Schifano Signed on the reverse: Sch...

Acrylic, enamel, metal and collage 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...

Excerpt from review by art critic Joe Nolan: 'On the Boat' is the best work in the show, and it’s among the best paintings Aldrich has produced. The portrait depicts a woman sailing...

A feminine figure reclines in a pink and blue-strapped hammock. The figure sitting in the hammock is activated by Aldrich’s transformation of paint and silicone into layered, glistening, and oozing swaths of skin. The hammock, recalling the grid, works as a pattern trying to hold and contain the body resting inside it. -- 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...

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...