Richard Aldrich

dépendance, Brussels

dépendance

Installation view of a room with three white walls, white ceiling, and an ornamented stone floor. On the left wall, which takes up about half of the image, we can see three works. Closes to us, we can see a white painting with an irregular black grid and black squares. In the middle of the wall, we can see a large white painting with drawings on paper mounted in its center. Further down, we can glimpse a smaller work. On the center wall, at the end of the room, we can see a large abstract painting in yellow, green, brown, white and turquoise. On the right wall, which is mostly out of frame, we can see a large white painting with a colorful object at its center, sticking out from the canvas. Between the center wall and the right wall, we can make out a doorway. In the ceiling, we can see three horizontal white beams, and above it, a line of fluorescent light tubes parallel to the right and left wall. In the dark grey stone floor, we can see three squares of lighter grey stone. The square closest to us has a grid of light grey stone tiles outlined by a mosaic in pale yellow and dark orange. The second square has a mosaic frame in pale yellow and dark orange, and a square mosaic pattern in its center. The square furthest away is in light grey stone outlined by mosaic in pale yellow and dark orange.

Installation view of a room with a wall, white ceiling, and an ornamented stone floor. On the wall, which runs diagonally across the image, we can see three works. Closes to us, we can see a white painting with an irregular black grid and black squares. In the middle of the wall, we can see a large white painting with drawings on paper mounted in its center. Further down, we can glimpse a smaller white painting with orange edges. In the top right corner, we can glimpse the white ceiling and a horizontal beam below it. In the dark grey stone floor, we can see inlays of lighter grey stone tiles outlined by a mosaic in pale yellow and dark orange.

Installation view of a room with three white walls, white ceiling, and an ornamented, grey stone floor. Taking up most of the image are two walls extending diagonally from the bottom right corner. They are sequential and parallel to each other, the one to the left and in the middle of the image, protruding. At the left edge of the image, we can see a sliver of the third wall, perpendicular to the walls to the right. Between the third wall and the walls to the right, we can see a doorway. Through the doorway, we can glimpse a bookshelf and what appears as the office of the gallery. On the wall furthest to the right, we can see a small, abstract painting in dark brown, white and green. On the protruding wall further to our left, we can see a large white painting with a colorful object at its center, sticking out from the canvas. The ceiling is visible in the upper left corner of the image, and below it, we can see two white beams parallel to the left wall furthest in the back.

Installation view of a room with a white wall, and ornamented, grey stone flooring. To the left on the wall, we can we can see a medium-sized white painting with an irregular black grid and black squares in portrait format. Next to it, on the right side of the wall, we can see a large white painting in portrait format with eight drawings on paper mounted in two rows in its center. In the dark grey stone floor, we can see a grid of light grey stone tiles outlined by a mosaic in pale yellow and dark orange. Further to the left, we can see the corner of  a mosaic frame in yellow and brown.

Installation view of a room with three white walls, white ceiling, and an ornamented, grey stone floor. The two walls in the left half of the image form a negative corner, whereas the center wall and the wall to the left form a positive corner. On the left wall, we can see a small, green painting in portrait format. On the center wall hangs another painting in equal size and orientation, depicting a person from the shoulders up. On the wall to the right, we can see a large white painting with a colorful object at its center, sticking out from the canvas. In the upper left part of the image, we can see some of the white ceiling.

Installation view of two rooms with three white walls visible, white ceiling, and ornamented, grey stone flooring. In the first room, where we are viewing from, we can see a white wall to the left perpendicular to it, a wall to the right. On the left wall we can see a small painting in portrait format depicting a person from the shoulders up. On the right wall, closer to us, hangs a framed work on paper. In the center of the image, between the left and right wall, we can see a large doorway. Through the doorway, we can see into the next room, where two paintings hang on a wall that extends diagonally to the left and behind the left wall. The painting to the left is a white medium-sized painting in portrait format with an irregular black grid and black squares. The painting to the right is primed in white, and in its center, drawings on white paper have been mounted. Above the paintings, we can see parts of a white ceiling with large beams perpendicular to the wall, and fluorescent light tubes parallel to the wall. In the dark grey stone floor, we can see square inserts of light grey stones outlined and ornamented in the center by a mosaic in pale yellow and dark orange.

Installation view of a room with two white walls, and ornamented stone floor. On the wall in front of us, we can see a large abstract painting in portrait format. The painting consists of fields in beige, turquoise and brown, with strokes, dots, splotches, and geometrical shapes in green, bright yellow, dark brown and white. Perpendicular to the wall on our left side, we can see another wall on which a large, white-primed painting hangs, seen at a sharp angle. Its upper and lower part is out of frame but in the center we can see a book attached, jutting out from its surface. On the cover of the book we can see a fantasy motif, and read: "Shadowrun, Find your own Truth (written in caps), Robert Charrette." In the dark grey stone floor below the paintings, we can see an insert of lighter grey stone outlined by a mosaic in pale yellow and dark orange.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is abstract and in portrait format. Below the painting, we can see a subtle shadow on the wall. At the bottom of the painting, we can see strokes in beige over the white primed canvas, forming a choppy field. Over the beige field, we can see choppy strokes in bright yellow, cool brown, and green, forming geometrical, abstract figures. Above the beige field, to the left, two rectangular fields in light pink and turquoise stretch upwards. Over the turquoise paint, we can see dots of white and small, rectangular shapes painted in reddish brown. To the right hand of the beige field, we can see a light blue field extending upwards, with some of the primed canvas visible, and yellow and green geometrical figures. In the top of the painting and down to its center, we can see a field painted in cool, light brown. Over the brown, we can see green, abstract shapes forming crosses and rounded lines, small, reddish brown square shapes, orange dots, and white splashy strokes. The intensity and culmination in shape is located in the upper half and in the center of the painting, whereas the lower part is calmer and in lighter tones.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is in portrait format. White paint has been painted over a colorful under layer. We can glimpse narrow lines of colorful paint at the right edge and bottom edge. Over the white paint, a bright green paint has been applied with large strokes, leaving the edges free where the white paint is visible. The surface of the painting is rough with creases and lumps, indicating that the painting has many layers. Below the painting, we can see a subtle shadow on the wall.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is abstract and in portrait format. We can see two dark brown rectangular fields on each side of the painting. With the width of about a third of the painting, they stretch from the top to the bottom, and we can see some vertical stokes. Between the two brown fields, sandwiched in the middle, we can see a rectangular field divided in three parts. The first part from the top,  is a square field painted in a dark green with some fine, vertical light blue strokes close to its left edge. Below it, we can see a long, rectangular field painted in a creme white with bright white highlights. In the top corners, we can see two bright yellow dots. Below the creme white field, we can see another square field painted in a slightly lighter green. We can see the strokes and how the paint has been applied, revealing the process of the painting's making.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is abstract and in portrait format. Over a white background, we can see thick black vertical and horizontal strokes, forming an irregular grid. In the upper right corner, and in the lower left half of the painting, a few of the squares in the grid have been filled in by black strokes. At the upper edge, two of the squares in the grid have been haphazardly filled with black strokes applied in an irregular grid structure. Across the upper half of the painting, we can see two diagonal strokes in opposite directions, breaking up the grid pattern. In this area, we can also see a diagonal and vertical cut into the surface, revealing the white priming. On the white surface, we can see some black paint spills. The painting is rough, and the paint appears to have been applied quickly. At some points the black and white paint mixes, whereas in others, the white paint appears to have been dry as the black paint was applied. Beneath the painting, we can see a subtle shadow on the wall.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is in portrait format, and in the center a woman is depicted from the shoulders up against a white background. She is wearing white clothing with a patten in dark and light blue and light green that ends at her neck. On her head she is wearing a headdress in the same fabric. Her skin is dark, and her eyes are brown. A few locks of her brown, curly hair, are visible at the edge of the headdress. Her head is turned slightly to her right, and her left earlobe is visible, sticking out from underneath the headdress. Her ear is pierced, and we can see a white stud earring. Her lips are full and painted in a light reddish brown. Her mouth is slightly open, revealing a red tongue and some of her upper teeth.  She is looking down, and has a pensive expression. Her eyebrows are thin and shaped in curves. The paint has been applied with visible brush strokes in various directions. Below the painting, we can see a subtle shadow on the wall.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is in portrait format, and primed in white. Just above the center of the painting, a rectangular object has been mounted. Zooming in, it is hard to discern what the object might be, but it appears as the backs of three books that are stuck together in a row, as if in a bookshelf. The book to the left has a red back, the book in the center blue, and the book to the right, burgundy. We can see vertical text but the image quality is too low for us to be able to read it. Below the painting, we can see a subtle shadow on the wall.

Close view of a work on paper seen in previous installation images hanging on a white wall. The work is in portrait format, and consists in a white transparency paper with a horizontal crease in the center, displayed in a white, thin frame. Between the frame and the paper, there is a visible gap, making the paper appear as if it is floating. In the upper left half of the white paper, we can see a color photo in portrait format printed. The photo appears to be of a window behind round, horizontal metal bars. In the window, we can see the faint reflection of a reddish brown house with windows, a group of people in the left corner, and in the center, a red and white banner with black letters or geometrical shapes. The banner is vertical, and the fabric is hanging down in folds, making it hard to distinguish details. Across the photo, and over the whole paper, we can see a handwritten text. The writing appears to be in dark brown ink, the writing is slanting to the right, and it appears to be written quickly. Below the frame and the paper within the frame, we can see subtle shadows.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is in portrait format, and primed in white. Along the upper vertical edges, we can see thin vertical fields of pink color with some of the white background coming through, appearing printed rather than painted. Near the upper edge, slightly off center to the left, we can see a grey rectangular shape. In its right half, we can see a paint splotch in white and darker grey. Opposite the grey shape, near the bottom edge of the painting and in the same size, we can see a group of five vertical rectangles, in orange, beige, light blue, brown and green. They also appear printed rather than painted. Some of the background is coming through and the figure is crossed by a horizontal line. Below the painting, we can see a subtle shadow on the wall.

Close view of a painting seen in previous installation images hanging on a white wall. The painting is in portrait format, and primed in white. Just above the center of the painting, we can see eight pencil drawings in portrait format on white paper, mounted in two horizontal rows of four. In the drawings in the first row, we can see a cartoonish figure from the chest down, who is holding a sword in a different manner in each drawing. In the drawings in the lower row, we can see the same figure but in full body. In the first drawing, the figure has cut off their own head which they are holding in their right hand. In the remaining ones, we can see the figure in various poses. Below the painting, we can see a subtle shadow on the wall.

Richard Aldrichdépendance, Brussels

Exhibition Images

Richard Aldrich
dépendance, Brussels