Angela de la Cruz
1st February – 5th March 2005
Anna Schwartz Gallery
‘As part of the process, I often use every part of my work: every bit of every painting can often be used in another painting, so I kind of recycle. In the most recent work the difference is that I have used the paintings as containers, so none of this work will be recycled any more; they have become containers of other paintings. Like body bags. They imply an excess of production.
When you have paintings in a traditional frame they have a certain distance. With my work it’s kind of democratic, there isn’t a correct or spiritual distance from which you look at or experience the work… you can come and touch: it makes the painting physically more available in a way. But I have to be very careful because I’m always worried that it will appear like I’m doing gymnastics with the work. The work treads a very fine line between being a work and being crap. In a way I am always fighting against the work itself.
I’m interested in the physicality of the object, the illusion and the figuration. My recent series of works is based on paintings that were standing outside my studio for a couple of years. I covered them with a very new canvas and I called it Clutter with Blanket. Another piece is made of a metal box in which I put twelve complete ‘paintings in waiting’. I went round the studio and I took every single painting that was as a real object, put it back in the frame, folded it, and then put it in a box. The work was self-contained. There was nothing broken. It was just the whole issue of picking up an object. I called the entire series Clutter, which relates to painting, the absurdity and excess of painting… There are all these studios in the world with paintings and more paintings and more paintings, and writing… That is excess, and with that excess you can do what you like. You can recycle. I’m not looking for any kind of spiritual sense of being for the painting. But the excess, the abject, is beautiful.’
From “William Furlong interviews Angela de la Cruz” in Patsy Craig (ed.), Making Art Work, Trolley, London, 2004.