Michaela Eichwald

dépendance

Maureen Paley, London

Maureen Paley

Installation view of a large gallery space with three white walls, a polished gray floor, and a pitched roof with visible white beams and bright fluorescent tube lights. On the wall on our left is a rectangular painting in portrait format with abstract black and orange lines and pale yellow shapes against a beige background. On the wall facing us is a large, landscape-format painting of abstract shapes in muted, earthy brown, green, purple, blue, and pink tones outlined by pale yellow against a gray background. On the wall on our right hangs a smaller rectangular painting in landscape format in dark colors. Between the center wall and the right wall is an opening leading further down the gallery space to an area we can't see from this angle.

Corner installation view with the large landscape format painting on our right and two smaller paintings on the wall on our left. The painting furthest to our left depicts figures and lines in white, red, and yellow on a black background. To the right of this painting is the portrait format painting with abstract black and orange lines and pale yellow shapes against a beige background. On the wall on our right is the large,  landscape-format painting of abstract shapes in muted, earthy brown, green, purple, blue, and pink tones outlined by pale yellow against a gray background

Frontal view of the two abstract paintings on black and gray backgrounds hanging on the white gallery wall. The top third of the image is taken up by the exposed structural beams of the gallery and its fluorescent tube lights, and the bottom third by its polished gray floor.

Close view of the landscape-format abstract painting depicting figures and lines in white, red, and yellow on a black background. On closer inspection, we can see that the painting is made on black pleather rather than canvas. The pleather is tufted to form a grid of squares with buttons at each corner, like one might see on a couch. A rectangle has been painted along the edges in messy yellow, red, and brown strokes. Within this rectangular frame of sorts, three irregular square sections have been outlined in a similar messy style. In the first section from the left, we can see expressive strokes in gray, yellow, red, brown, and white. The shapes are round, muddy, and organic. The section in the middle depicts pale green and blue shapes with a prominent brown, phallic shape on the left side, and sketchy gray marks throughout. The right most section is outlined in white, and inside are bright yellow horizontal stripes with irregular edges.

Close view of the portrait-format painting with abstract black and orange lines and pale yellow shapes against a beige background. On closer inspection, we can see that the painting is made on beige pleather rather than canvas. The surface is smooth and slightly metallic. In the upper part of the painting is a drawing in a muted orange color made by a thick brush in a cartoonish style. The drawing is abstract but has a figurative element of three fingers pointing down. In the lower half of the painting, just off center to the right, we can see a blobby figure in pale yellow outlined in black. It appears to be an extended arm and a hand with a finger raised, meeting the orange fingers above. Around the edges of the painting are thin, sketchy black lines in irregular rectangular shapes.

Installation view of the large, landscape-format painting of abstract shapes in muted, earthy brown, green, purple, blue, and pink tones outlined by pale yellow against a gray background. The painting hangs on a white wall, below the exposed ceiling and fluorescent tubes of the white gallery space. On closer inspection, we can see that the painting is made on gray pleather rather than canvas. The surface is smooth and slightly metallic. Against the gray background, are irregular shapes squeezed together taking up the majority of the painting's surface. Taken as a whole, the shapes look like a digestive tract or letters painted in a messy graffiti style, and the brown paint smudged throughout is reminiscent of feces.

Close view of the landscape-format painting of abstract shapes in muted, earthy brown, green, purple, blue, and pink tones outlined by pale yellow against a gray background. Zooming in, we can see that the painting is made on gray pleather rather than traditional canvas. The surface is smooth and slightly metallic. Against the gray background are irregular shapes squeezed together taking up the majority of the painting's surface. Taken as a whole, the shapes look like a digestive tract or letters painted in a messy graffiti style, and the brown paint smudged throughout is reminiscent of feces.

Corner installation view showing one of the smaller, dark, landscape-format paintings on our left and a sculpture on a small, white shelf mounted on the wall on our right. The details are too distant to make out. Most of the image consists of elements of the gallery itself — white walls, exposed ceiling beams, and the gray floor.

A closer view of the dark, rectangular, landscape-format painting. Against a black background are painted semi-abstract shapes and figures in loose brushstrokes. Just off center to the right, we can discern what looks like a human figure with their arms stretched out to their sides. Stylistically, the painting has elements reminiscent of early cave paintings as well as shapes typical of doodling.

Closer, left-angle view of the sculpture on a white shelf. The base of the sculpture is a silvery metal cylinder that flares out at the bottom, and the top is a larger, irregular cylindrical shape made from resin and other materials. The overall shape of the sculpture is similar to that of a standard table lamp. In yellowed resin, we can see what appears to be a page from a magazine or product packaging with a colorful drawing of a landscape in green, white, and blue. The image is distorted, and seems to have melted or disintegrated due to the chemicals in the resin.

Frontal view of the sculpture on a white shelf. The base of the sculpture is a silvery metal cylinder that flares out at the bottom, and the top is a larger, irregular cylindrical shape made from resin and other materials. The overall shape of the sculpture is similar to that of a standard table lamp. In yellowed resin, we can see what appears to be a page from a magazine or product packaging with a colorful drawing of a landscape in green, white, and blue. The image is distorted, and seems to have melted or disintegrated due to the chemicals in the resin.

Right-angle view of the sculpture on a white shelf. The base of the sculpture is a silvery metal cylinder that flares out at the bottom, and the top is a larger, irregular cylindrical shape made from resin and other materials. The overall shape of the sculpture is similar to that of a standard table lamp. In yellowed resin, we can see what appears to be a page from a magazine or product packaging with a colorful drawing of a landscape in green, white, and blue. The image is distorted, and seems to have melted or disintegrated due to the chemicals in the resin.

Michaela EichwaldPopanz Moloch Muff und PuffMaureen Paley, London

Exhibition Images

Michaela EichwaldPopanz Moloch Muff und Puff
Maureen Paley, London