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This September, Barbara Weissberger and I had a show at Bunker Projects in Pittsburgh. It was a continuation of our ongoing “Custodia” series, and felt very apt during the pandemic due to all its cleaning imagery. We were so pleased that Anna wrote about our work, and also recorded a podcast conversation for Bunker Projects.
An exciting thing happened in April- out of the blue (during quarantine!) this article was published on artists who reference famous painters. I was surprised and pleased that the editors chose my painting Sunglasses and a Veil (after Sargent), 2017 to be included. Read the full article here:
Nashville writer Laura Hutson Hunter wrote a review of my show, Main Squeeze for Art in America. It is on page 111-112 of the June 2019 copy, or you can see it online here. She writes: “Aldrich renders such details lovingly, seeming less a voyeur than an artist interested in elevating the flesh in all its unruliness.”
My show Main Squeeze at Channel to Channel was chosen by Emily Weiner as a Critic’s Pick for Artforum. Emily writes:
“In her canonical 1979 essay Grids, art historian Rosalind Krauss explains that, as a modernist trope, the grid inherently resists representation: “It is what art looks like when it turns its back on nature.” As if in response, Aldrich both embraces and sends up this statement, adopting the form not as an escapist structure but as a screen through which to view—and even pinch or prod—a version of real life.”
In her feature for the Nashville Scene, Laura Hutson Hunter writes:
“There are two excellent exhibitions currently hanging in Nashville galleries that encapsulate what I like to think of as an ugly-precious aesthetic. The artists — Amelia Briggs and Eleanor Aldrich — are markedly different, and both deserve individual attention and praise. But when viewed together, their work shows an unintentional like-mindedness that elevates them both.”
“Silicone makes passable flesh, for instance, and caulking makes decent vinyl lawn chairs. But the crudeness of her renderings is both deliberate and accidental, which allows her to draw attention to the act of making, its subjectivity, and its power. In this way, her images resonate more powerfully than her subject matter, which exists more or less to as a vehicle for material metaphor.”
Recent works are on display in Nashville, Tennessee with my studio mate Heather Hartman‘s paintings. Our show, ‘Shadyville’ will be up through October 26 at Channel to Channel in the Wedgwood Houston arts district.
From our joint statement:
Shadyville is a place where atmosphere, light, and shadow obscure the landscape, and faces are always hidden. It is a place of waiting, of gathering, and of things concealed. Though the work of Knoxville-based studio mates Eleanor Aldrich and Heather Hartman is, on the surface, very different, both share a sense of mystery and an interest in material transformation.
Our studio collective in North Knoxville was featured in one of the final issues of our local independent weekly paper, Knoxville Mercury. Denise Stewart-Sanabria reviewed the work of each artist in a profile of our upcoming show at the Emporium Center on Gay street.
Eight Artists of the Vacuum Shop Studios is on display at the Emporium Center (100 S. Gay St.) July 7-28. An opening reception will be held on Friday, July 7, from 5 to 9 p.m.
Elements of paintings fall out into space, carpets creep up the wall, and book-sized paintings become the heaviest thing in the room. Commonplace objects are removed from their homes to act in painting’s space holding their ground without bearings. Carpet relief carvings exist dislocated from time and thick, rigid paintings leave severed gabs that beg to be treated like an injury. In the work of all three artists, materials are acting exactly as themselves. It’s the perception of depth and illusion that troubles density, tactility, materiality and perspective in the work.
‘A Soft Slouch, A Rigid Splint’ will be on view until May 27, with the opening reception held May 5th at Tugboat Gallery.