Angela de la Cruz
Bare (Off-White), 2018
Within Angela de la Cruz's work there is a clear notion of tension and violence, contrasting …
Angela de la Cruz confronts the traditional boundaries of sculpture and painting, subjecting her works to violent interventions before they arrive at their finished state. In 1996, she first cut a painting from its stretcher and hung it in a corner (titled Ashamed) , where it assumed the qualities of an object while retaining the characteristics of a painting. Her works on canvas and aluminum appear fallen, gutted, crumpled, or collapsed, removed from what she terms painting's "grandiosity."
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 …
Angela de la Cruz confronts the traditional boundaries of sculpture and painting, subjecting her works to violent interventions before they arrive at their finished state. In 1996, she first cut a painting from its stretcher and hung it in a corner (titled Ashamed) , where it assumed the qualities of an object while retaining the characteristics of a painting. Her works on canvas and aluminum appear fallen, gutted, crumpled, or collapsed, removed from what she terms painting's "grandiosity."
