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Luis De Jesus Los Angeles
2685 S La Cienega Blvd. Los Angeles, CA 90034 | T 310 838 6000

Edie Beaucage

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statement

bio

cv

exhibitions

<i>You know Dax too</i>

You know Dax too, 2017

OIL ON CANVAS

24 X 20 IN

ARTIST STATEMENT

EDIE BEAUCAGE: SELECTED SERIES STATEMENTS


Fast Reverse Polychromatic Liquid Lines Modulator (FRPLLM) at the Toronto Art Fair 2017


Edie Beaucage's new paintings are simultaneously lighthearted and dramatic in effect. Their dark impastoed grounds support amalgams of fine liquid paint lines that build and tangle to create hip characters. Observing the paintings feels like looking through a pair of quantum-multicolor-night-vision-goggles while viewing a social scene with the polarizer-blacklight-coloratron on. Beaucage invents new ways to present otherwise familiar scenes: a computer on a table and a pair of boots / it's movie night at home / three mustached men on FaceTime and a group of friends in the woods exchanging Snapchats. These characters relate with apps and the net. Beaucage reveals an omnipresent connected narrative.


Fast reverse polychromatic liquid lines modulator describes Beaucage's action. Using an array of complementary and tertiary shades and tints, Beaucage rapidly applies paint on a contrasting ground, making high heels shoes, fancy pants, funky boots, background horse, wild-haired heads, inhabited cell phones, fashionable mustaches, pink rocks, and pale blue trees...Beaucage distributes and pushes the paint with a quick, steady yet vibrating and upbeat hand.


Bringing the line to the forefront of this series, Beaucage creates liquid drawings in a dense spatula world for the artist's first exhibition in Canada.


Skipper


Edie Beaucage's paintings invite us to follow a young swashbuckler couple in a topside adventure. Petula is a sailor who sold all of her belongings and now navigates the big salty. Her sea legs took her to the South Pacific. A femme of high spirits, she enjoys great conversations with aged tequila in her sailboat boudoir. She loves to be top free on the island, surrounding herself with quiet plants. She spends most of her time talking with her lover and shipmate, a philosopher from Denmark named Gudbjorn. "Gud" loves cutting wood, making wood ornaments and thinking about how the world's population is exponentially growing. What will happen to the food production in Micronesia, he wonders? Every afternoon Petula swims. Gud takes pictures of Petula day and night. They plumb the depths together.


In parallel to Roland Barthes' essay S/Z and his search for openness of interpretation in literature, Edith Beaucage organized her current body of work, Skipper, to allow for a flexible narrative, creating a series of paintings that straddle representation and abstraction and mixes the "plot" in a non-linear fashion. While initial sketches help to unfold the narrative, the characters and situation determine how the individual environment is depicted in each painting. The viewer will discover the paintings by looking through freestanding sculptural elements that produce a deep focus space similar in effect to a depth of field composition in cinematography, allowing them to focus on both close and distant planes.


Chill Bivouac Rhymes


Beaucage's Chill Bivouac Rhymes paintings and mix media exhibition invites you to follow a small group of teens at a rave concert. A young Bolshoi ballerina; Ekaterina becomes a rave bunny and escapes her Russian lover to venture in cutting shapes with a young surfer from Bora Bora.

In parallel to S/Z's Roland Barthes search for openness of interpretation in literature; Beaucage organized her current exhibition to allow for a looseleaf narrative. Barthes had concluded that "an ideal text is one that is reversible, or open to the greatest variety of independent interpretations and not restrictive in meaning; avoiding strict timelines and exact definitions of events." Beaucage brings about this reversibility in the exhibition by choosing a series of paintings that mixes the plot in a non linear fashion, including molly induced moments and cinematic tropes in 3D.


All the images visually rhyme with one another around a central bivouac; a campsite in the woods where the Rave is happening. The rhymes are geometric elements that are both color and sound. The viewer will discover the paintings by looking through sculptures and painting installation. Multicolor trees, an octagon geometric shape and freestanding painted campers are installed on the gallery floor to produce a deep focus space. The inclusion of the three levels of foreground, middle ground and extreme background objects (a large painting 9 x 12 feet) will create for the viewer a similar effect to a depth of field composition in cinematography; allowing the viewer to focus both close and distant planes. Beaucage created enamel on Iron pieces that where fired at 1450° F; fusing glass to metal. Influenced by Limoges enamelings from the mid 1600s, her ravers are incapsulated in a deep glossy tranced out spaces.


Bidibidiba


Bidibidiba is a figure of speech for love, pleasure, sentimentality, and fun…Bidibidiba is where characters are built with painting activation in mind. Multicolored brush strokes are used to build abstractions that are part of the figure. The imagery is built with paint that reverts the figure/ground conversation to a figure/figure construction by building what used to be "ground" onto the same plane as the figure so they can interact.


The exhibition consists of "idealistically" bound portraits of diverse characters including girls and philosophers, art students (both fictional and real), hipsters with mustaches, Egyptian girls, princesses, knights, dragons, musketeers, wigged women, bearded men, and dandies. They are sometimes in conversations or simply doing their jobs of being portraits and holding the paint together.


Bidibidiba, is the title song of the 1970 movie "L' Homme Orchestre" ("The Orchestra Men") with French comedian Louis De Funes. Specifically, the Bidibidiba dance within this comedy had the effect of molding a desire in the Beaucage for a modern and colorful life. Bidibidiba is light, entertaining, new, and full of sentimentality. Also influencing the artist is Roland Barthes who wrote Le Plaisir Du Texte (The Pleasure of the Text), a book he was hoping would influence other thinkers, philosophers and researchers to consider pleasure within the critical discourse. In a 1973 interview, Roland Barthes talks about his book and explains very simply that the notion of pleasure is on "the right", attempting to convince his friends on "the left" that pleasure should not be dismissed and actually included into criticality. He later took on the subject of love in the same manner in 1977 with his book Fragments d'un Discours Amoureux (A Lovers Discourse).


.hurluberlu


The exhibition continues the artist's exploration of painted images that investigate relationships between signs of abstraction and figuration and how we derive meaning by simple juxtaposition of these signs. Beaucage invents characters and places them side by side with an abstracted form into a scenario that mimics what happens in a social space. The emotional thread woven into the paintings, the social spaces, is meant to stimulate discourse with the audience.


In the artist's native Quebec, a "hurluberlu" is one who is a little crazy, sweet and original in his way of thinking, how he dresses and behaves. Physical applications of volatile multicolor brush strokes to the canvas, are the basis for the hurlubelu—like characters, while the abstractions are an investigation of improvised construction based on the shape of a lozenge (diamond shape) and Catalan solids (geometric). Relationships between the figures and the abstractions are associated by modal logic theorems in witch a lozenge represents a possibility and the figure is an agent (player). We are therefore in the domain of hurluberlu.

BRIEF BIO

Edie Beaucage (b.Quebec, Canada) is an American artist living and working in Los Angeles, CA. She received her MFA from Otis College of Art and Design in 2010 and BA from Bishop's University in Lennoxville, Quebec, Canada. She also studied at Palazzo Spinelli, Centro per L'arte e Il Restauro, Florence, Italy.

Beaucage has presented solo exhibitions at VOLTA New York, Luis De Jesus Los Angeles, CB1 Gallery, Creative Artists Agency (CAA), and Bolsky Gallery at Otis College of Art And Design, all in Los Angeles. Group exhibitions include Art Toronto Fair; UNTITLED Miami Beach; LAX-Los Angeles Airport; Piasa, Paris; Chinese American Museum, Los Angeles; Armory Center for the Arts, Pasadena; Appeals Gallery, Amsterdam; Woodbury University, Los Angeles; 2A Gallery, Los Angeles; and The Colburn Music School, Los Angeles.

Beaucage has been featured in numerous publications, including The Los Angeles Times, Art and Cake, Beautiful/Decay, Artillery, Huffington Post, waterwheel.net, KCET.org, and Whitehot Magazine. In 2016, art critic Annie Seaton wrote:

"Beaucage conceptually captures the culture of today's electronic music scene just as Modernist Stuart Davis captured the birth of funk and jazz. Like Davis, who painted compositions of his time living in New York during the birth of the Jazz age and incorporated pop symbols, such as spark plug logos from the '20s and '50s, Beaucage paints from the experiential view of today's music festivals, such as Coachella, Burning Man, and the Electric Daisy Carnival. One half expects Beaucage's subjects to whip out their iPhones and furiously text one another or snapchat selfies when the gallery goes dark.

Her abstract, gooey, melodious and loosely representational portraits of millennials are aptly titled with Euro pop names, such as Basil and Zeek, Otto in Pottsdam, Producer Bruno B, and DJ Ferdy Scholk. Hipsters sporting beards and mustaches inhabit this world on canvas. They sport beanies and pork pie hats. Multiple personality-driven works are über cool and seem to kick-back with one another, both painting to painting and within their own framed worlds.

It is hip-hop fresh; it is whimsy; it is, to quote Prince, a "sign o' the times"."

BRIEF CV

Born in Quebec, Canada
Lives and works in Los Angeles, CA

EDUCATION

2010             M.F.A., Otis College of Art and Design, Los Angeles, CA
1993             Palazzo Spinelli, Centro per L'arte e Il Restauro, Florence, Italy
1986             B.A., Bishop's University, Quebec, Canada

SELECTED SOLO EXHIBITIONS / PROJECTS

2018
Tag Da Slim, Harbor Park Garage, Baltimore, MD

2016
Sequencer-Spectrum-Reverb, Luis De Jesus Los Angeles, Los Angeles, CA
Skipper, VOLTA NY 2016, Luis De Jesus Los Angeles, New York, NY

2015
Chill Bivouac Rhymes, CB1 Gallery, Los Angeles, CA

2012
Bidibidiba, CB1 Gallery, Los Angeles, CA

2011
.hurluberlu, CB1 Gallery, Los Angeles, CA

SELECTED GROUP EXHIBITIONS

2017
Fast Reverse Polychromatic Liquid Lines Modulator (FRPLLM), ART TORONTO, Luis De Jesus Los Angeles, Toronto, Canada

2016
VERTIGO: Power Of Water, John Akomfrah, Edith Beaucage and Marco G.Ferrari, curated by Camilla Boemio, digital exhibition and lecture
On the Cusp, curated by John David O'Brien, LAWA (Los Angeles World Airports) LAX Art Program, Terminal 7, Los Angeles, CA

2015
UNTITLED Miami, Luis De Jesus Los Angeles, Miami, FL
On the Cusp, curated by John David O'Brien, LAWA (Los Angeles World Airports) LAX Art Program, Terminal 7, Los Angeles, CA
Off The Wall, Armory Center For The Arts Biennial Auction and Benefit, Pasadena, CA

2014
Art is Hope, curated by Rene Julien Praz, Piasa, Paris, France
Encore, CB1 Gallery, Los Angeles, CA
LA Heat, curated by Steven Wong, Chinese American Museum, Los Angeles, CA
Love is in the Air, curated by Calvin Phelps, 2A Gallery, Los Angeles, CA
FreshStart, McCall Foundation, Los Angeles, CA

2013
Miami Projects, CB1 Gallery, Miami, FL
Off The Wall, Armory Center For The Arts Biennial, Pasadena, CA
Some Fine Women, Vast Space Project, Las Vegas, NV
Fanatic, curated by Lily Simonson, Kamikaze Nights, PØST, Los Angeles, CA
Verhond's International, curated by Art Initiative, Appels Gallery, Amsterdam, the Netherlands

SELECTED BIBILIOGRAPHY

2016
Seaton, Annie. "Edith Beaucage is Vibrating off the Walls at Luis De Jesus," Art and Cake, Oct. 19

2015
David O'Brien, John. "Edith Beaucage, CB1 Gallery / Los Angeles," Artillery Magazine, Sep. 8 (print)
Mizota, Sharon. "Review: Feeling the pull of Edith Beaucage's vibrant hallucination," Los Angeles Times, Jun. 30
Seed, John. "Edith Beaucage: 'Chill Bivouac Rhymes' at CB1 Gallery," Huffington Post, Jul. 16

2014
Jao, Carren. "Hot Stuff: L.A.'s Cross-Cultural Condiments," KCET Artbound, Mar. 18
Art is Hope Catalog, Piasa, Paris, p.38

2013
Dambrot, Shana Nys. "Beaucage @ CB1," Whitehot Magazine, Jan.
Dambrot, Shana Nys. "Some Fine Women," Jul. 2013 (catalog)
Some Fine Women, Vast Space Projects, 2013, https://vimeo.com/ 73200837

2012
Seed, John. "Edith Beaucage: '.hurluberlu' at CB1 Gallery," Huffington Post, Mar. 8

2011
Dambrot, Shana Nys. "Beaucoup de Beaucage," LA Weekly, Feb. 24
"Edith Beaucage at CB1 Gallery .hurluberlu exhibition," LA Downtown News Video, Feb. 22, 2011, https://www.youtube.com/watch?v=LQJlNANpfJo

2010
Mizota, Sharon. "Review: 'The art that dare not speak its name' at CB1 Gallery," Los Angeles Times, Jul. 16

DOWNLOAD COMPLETE CV (PDF)