Galerie Thomas Schulte presents BLANK, a selection of works by Spanish-born and London-based artist Angela de la Cruz.
This presentation features a selection of nearly monochromatic white-toned objects and wall-based works. Angela de la Cruz uses painting and its components as a sculptural object rather than a two-dimensional representation. In her work, she focuses on breaking preconceived conceptions of painting by targeting the essential structural component of the canvas: the stretcher.
The group of works is currently displayed in the gallery's nine-meter-high Corner Space as well as in the gallery's entrance hall. Engaging in the discourse with the limitations of conventional painting,Angela de la Cruz transforms her paintings into three-dimensional space, stressing out their physical quality by twisting the stretcher and protuberances, resulting in sculpture-like objects.
'This piece is called Transfer. The furniture is a nicer version of what you can find in waiting rooms. Transfer is primarily about moving from one seat to another, but it can mean something else: like rubbing a transfer onto your hand, or image transfer as a technical term in painting. My earlier work, Clutter, used to be about hiding or recycling a lot of works under other surfaces; it was about excess. Transfer is bare and bold, a clean proposition of an idea.'Angela de la Cruz
The materiality of Angela de la Cruz's work, the colour and texture, opposes the natural and humane, charging her works with ambiguity. As part of the artist's focus on the physical qualities and boundaries of material in a number of works de la Cruz also frequently explores the elasticity and potentiality of aluminium. Aluminium surfaces project outward from walls and floors, forcing the viewer to directly confront the experience of viewing.
Often torqued and warped, Angela de la Cruz's works function as humorous meditations upon the human body's limitations and failures. Her canvases undergo violent interventions in the form of cuttings, deformation, etc., which thus seem to turn them into sentient beings.
The artist continuously challenges the norms of conventional painting. By breaking the norms of fine art disciplines, de la Cruz's works put human existence into question—both skeptically and aesthetically.
Within Angela de la Cruz's work there is a clear notion of tension and violence, contrasting the artist's contemplative and meditative painting process. The piece thus become a representation of materiality and body, in motion between strength and fragility; between the beautiful and the broken, tension and relaxation. It is this dynamic that keeps the work moving in different ways.
Angela de la Cruz literally and quite brutally, detaches the idea of the picture from its physical carrier as well as from tradition: 'The moment I cut through the canvas I get rid of the grandiosity of painting.'