Inès di Folco

Laurel Gitlen, New York

Laurel Gitlen

Installation view of a room with three white walls, black floor, and white ceiling. On the left wall, we can see three colorful paintings in portrait format. On the center wall, we can see a painting in landscape format of a figure depicted from their waist and up against a landscape in red, brown and blue hues. Where the center wall and the right wall meets, we can see an opening in the wall, and light coming in from a window which is out of sight due to the angle. Below the window, we can see a radiator close to the floor. In the corner, next to the window, we can see a smaller, dark painting in portrait format, hanging at the edge of the center wall. Below it, we can see two light switches. Further down the right wall, a painting in landscape format hangs. In the ceiling, we can see textured, square tiles painted in white. Parallel to the walls, forming a rectangle in the ceiling, we can see fluorescent light tubes. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Installation view of a room with two white walls, a window, black floor, and white ceiling. The walls form a corner in the left part of the image, where we can see a window on the right wall. On the right wall, we can see a small, rectangular painting in portrait format, painted in dark colors, and below it, two light switches. The window on the right wall is covered by a white, semi-transparent roll down blind, which filters the light. In front of the window, on the floor, we can see a rectangular, box-shaped radiator in off white. Its front cover is stabilized by a beige brick on the floor. To the right of the window, a rectangular painting in landscape format hangs on the wall. The painting depicts a horse and a rider, a sitting figure, and female figure in a surreal landscape in blue, green, grey and purple. In the ceiling, we can see textured, square tiles painted in white. Parallel to the walls, we can see fluorescent light tubes. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Installation view of a room with two white walls, a window, black floor, and white ceiling. The walls form a corner in the left part of the image, where we can see a window on the right wall. On the right wall, we can see a small, rectangular painting in portrait format, painted in dark colors, and below it, two light switches. The window on the right wall is covered by a white, semi-transparent roll down blind, which filters the light. In front of the window, on the floor, we can see a rectangular, box-shaped radiator in off white. Its front cover is stabilized by a beige brick on the floor. To the right of the window, a rectangular painting in landscape format hangs on the wall. The painting is depicting a horse and a rider, a sitting figure, and female figure in a surreal landscape in blue, green, grey and purple. In the ceiling, we can see textured, square tiles painted in white. Parallel to the walls, we can see fluorescent light tubes. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Installation view of a room with a white wall, windows, black floor, and white ceiling. In the center of the image, we can see a white wall with a painting hanging slightly off center to the left. The painting is depicting a horse and a rider, a sitting figure, and female figure in a surreal landscape in blue, green, grey and purple. On each side of the wall, we can see windows with white, semi-transparent roll down blinds. On the floor in front of the left window, we can see a rectangular, box-shaped radiator in off white. In the ceiling, we can see textured, square tiles painted in white, and parallel to the wall and windows, fluorescent light tubes. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Installation view of a room with two white walls, a window, black floor, and white ceiling. The walls form a corner slightly off center to the left in the image. On the left wall, we can see a painting in portrait format depicting a head against a landscape with flowers in the foreground. To the left of the painting, we can see parts of a window, mostly out of frame. The window is covered by a white, semi-transparent roll down blind, and in front of it, we can see a part of a rectangular, box-shaped radiator in off white. On the right wall, we can see two square paintings. The left one depicts a figure with wings outlined in yellow against an abstract background in red and black. The painting to the right depicts a woman from her ankles up, against a reddish brown background, surrounded by flowers. In the ceiling, we can see textured, square tiles painted in white, and parallel to the walls, we can see fluorescent light tubes forming a rectangle. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Installation view of a room with three white walls, window, black floor, and white ceiling. In the middle of the left wall, we can see a window covered by a white, semi-transparent roll down blind. In front of the window, a rectangular, box-shaped radiator in off white stands on the floor. To the right of the window, a painting in portrait format and dark colors hang on the wall. On the center wall, we can see two square paintings. The left painting depicts a figure with wings outlined in yellow against an abstract background in red and black. The painting to the right depicts a woman from her ankles up, against a reddish brown background, surrounded by flowers. To the right of the paintings, a thin, short wall juts out, forming a narrow alcove to the right, where we can see a wooden desk mounted to the wall, and in front of it, a chair with black backrest and chromed legs. On the desk, we can see some documents or publications. On the right wall, we can see a painting in landscape format in dark brown, orange and pale blue hues. In the ceiling, we can see textured, square tiles painted in white. Parallel to the walls, forming a rectangle in the ceiling, we can see fluorescent light tubes. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Installation view of a room with three white walls, window, black floor, and white ceiling. On the left wall, we can see two windows, at the left edge of the image and the other further down the room. Both windows are covered by white, semi-transparent roll down blinds. In front of the window further down the room, a rectangular, box-shaped radiator in off white stands on the floor. To the right of each window, we can see paintings on the wall. The one closest to us, is in portrait format, depicting a horse and rider, and two figures in a landscape. The second painting is in portrait format and painted in dark colors. On the center wall, far down the room, we can see two square paintings. The left painting depicts a figure with wings outlined in yellow against an abstract background in red and black. The painting to the right depicts a woman from her ankles up, against a reddish brown background, surrounded by flowers. To the right of the paintings, a thin, short wall juts out, forming a narrow alcove to the right, where we can see a wooden desk mounted to the wall, and in front of it, a chair with black backrest and chromed legs. On the desk, we can see some documents or publications. On the right wall, we can see two paintings. The one closest to us depicts a woman with dark skin and hair, seen from her chest up against an apricot and pale blue background. Further down the wall, we can see a painting in landscape format in dark brown, orange and pale blue hues. In the ceiling, we can see textured, square tiles painted in white. Parallel to the walls, forming a rectangle in the ceiling, we can see fluorescent light tubes. The floor is tiled in black, polished terrazzo with white stones, reflecting the light from the window and the ceiling.

Close view of a painting in previous installation views, hanging on a white wall. The painting is rectangular and in portrait format, and at its center it depicts a woman cropped at chest hight, looking straight at us. Her skin is dark, painted mostly in a deep blue which is the same as the background. She is outlined by a lighter blue, giving her a glowing effect. Her chest and right shoulder is highlighted in bright greens, light blues and pinks. The highlights are chalky, as if made by crayon or pastel. Her right shoulder, neck and face are painted in dark blue. Her chin, mouth, nose, eyes and eyebrows are outlined in bright red, made by a thin brush. Her lower lip is fully painted in red. In her eyes, we can see a faint reflection of light blue. Her hair is short and curly, and frames her face. It is painted in cool beige, and light blues. Some of the coils fall down over her forehead and at the sides of her neck. At the top left corner of the painting, we can see an area of red, pink and blue, applied by a squeegee. To the right of the woman's face, and continuing down over her left shoulder, we can see an area of the same red, pink and blue which has applied in liquid form, and spreading into diagonal splotch. The grain of the canvas is visible. Below the painting, we can see a subtle shadow on the wall.

Close view of painting from previous installation views hanging on a white wall. The painting is rectangular and in portrait format, and has both figurative and abstract elements. Depicted is a woman from the chest up, and with her left shoulder slightly out of frame. Her skin is dark, painted in a deep brown. Around her neck, we can see a necklace with a pendant, painted in red. On the left side of her neck, highlights in light greens, beige and orange are painted. Below her left collar bone, next to the red pendant, we can see an area in bright orange. Her face is painted in a deep brown, and her chin, mouth, nose, and eyes are outlined in red, fine strokes. Her mouth is full, painted in red, and her lips are closed. We can hardly distinguish her eyes. The paint has bled, and there are blots and drops of a cool, light blue around the eyes and on her forehead. Her hair is cropped around her head, and painted in red, bleeding into the blue blots, and her brown skin. The surface of the painting, especially the upper half, is structured and creased, as if many layers have been painted in oil. To the left of the woman's head, we can see an area in dark green with a large light blue paint splotch, vertically oriented. Above her head, and down to her left ear, we can see an area painted in dark brown, similar to her skin tone. The area below her ear, down to her left shoulder, is painted in apricot and light blue. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Close view of painting from previous installation views hanging on a white wall. The painting is in landscape format, and depicts a group of figures. To the left, taking up about a third of the canvas, we can see an androgynous human figure on a horse. The horse is seen in profile, facing right, with its head slightly turned towards us. Its left front leg is raised, and the rest of the hoofs are on the ground. The horse is white, painted in grey and white. Its ears are standing up, its mane is silver, and the eyes and eye lashes are marked in black. The human figure on the horse is leaning their torso against the neck and head of the horse, and their head, seen in profile, is hanging heavy over the horse's head. The right leg of the figure hangs on the side of the horse, and is painted in apricot, gray, and white-speckled emerald green. Their upper body is painted in apricot, and their chest in orange. Their right hand is alongside the neck of the horse, and is painted in apricot, gray, white, and white-speckled emerald green. In their right hand, the figure holds a sword directed at the ground, painted in purple. The head of the figure is hairless, and painted in grey. We can see an ear outlined in black, and an eye and eyebrow indicated in dark purple. In the center of the painting, to the right of the horse, we can see an androgynous figure sitting on the ground with their legs folded. Their knees are oriented towards the horse but their torso is facing us. Their hands are in front of them on the ground. The figure is painted in green, with thick purple outlines. The head of the sitting figure is painted in grey, and we can see eyes outlined in red, and from their head, as if horns, two spirals painted in red extends. Behind the figure, we can see a large area on green, as if a bush or foliage or a large, moss-clad rock. Next to the sitting figure, in the right part of the painting, we can see a female figure, standing up. Her left hand is placed on the right cheek of the sitting figure. Her feet are turned to the left, but her body is oriented towards us. Her right arm hangs to her side, and her head is slightly tilted to the right. Her skin is dark, and she has dark, shoulder length straight hair. Her mouths and eyes are hardly distinguishable. She is wearing a green, transparent sleeveless dress, ending below her knees. At the right and left edge of the painting, we can see a dark blue painted corner, as if a night sky, framing the figures. In the center, above the green area behind the sitting figure, we can see an area painted in bright grey and apricot. Below the figures, we can see grass and dark grey areas, possibly stones. To the left of the female figure, some abstract shapes in apricot, which could be flowers or vegetation. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Square painting with a bright red background and elements that are both figurative and abstract. Just off center are a woman and a girl seated on what looks like a couch or a row of three chairs rendered in loose, sky-blue brushstrokes. The figures, also rendered in a gestural, imprecise style, are angled towards the left side of the painting. A few streaks of white paint trail back from above them toward the top right corner of the painting at a diagonal, creating a sense of perspective against the otherwise flat background. The woman on the left is wearing light yellow shoes, and a short, sleeveless dress in an apricot color. She has dark brown skin and short hair. She is holding hands with the girl on her left, who is smaller, and wears flip flops and a short, striped dress. She has dark, shoulder-length hair and a medium skin tone. The figures are holding each others' hands, their fingers rendered in loose strokes that overlap and meld together.

Close view of painting hanging on a white wall, seen in previous installation views. The painting is square, and has both figurative and abstract elements. From the bottom left corner, to the middle, and up to the left corner, a black area extends, like a wave. It meets a red area which takes up the left part of the painting, and reaches the bottom left corner and the top edge of the painting to about two thirds in from the right. The border between the black and red area is blurry. It looks a little like a shore line seen from the sky. On the red area, we can see horizontal pours, and some places where the paint is thinner, and mixed with black that has faded into the red. In the upper half of the red area, light grey, light green and dark blue horizontal strokes have been made, looking like thin clouds in the sky. In the center of the painting, on top of the red and black area, we can see an androgynous or childlike figure with wings, painted in yellow. The legs and the torso of the figure is human, and is outlined in thin brush strokes. The torso is slightly turned to the right, and the right leg is lifted, whereas the left leg hangs relaxed. The feet are pointing outwards. The figure is naked, and we can see nipples and the genitals appears as of a young girl. The head is seen in profile, facing right in the painting. The hair is short, and no details in the face are indicated. Instead of arms, the figure has four equally large wings painted in yellow. They extend from the body, two on each side, and have the forms of leaves. The figure is levitating in space. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Close view of painting hanging on a white wall, seen in previous installation views. The painting is in landscape format, and depicts two figures in a landscape, one close to us, seen from the hips up, and one far away, seen in full body. The figure nearest to us is standing slightly off center to the left. Their body is turned towards us with their arms hanging to their sides, while their head is seen in profile, facing right. Their skin is light and their long hair is dark brown with some light green highlights at their temples, swept back from the face, and is disappearing behind their back. Their eyebrows are thin and their eyes are big and brown. They are looking straight ahead. Their lips are dark brown and their mouth is closed. The figure is wearing a blue bottoms but no top, and we can see their bellybutton, small breasts and nipples. Behind the figure, we can see a colorful landscape. From the figure, coiling to the left towards the horizon, we can see what appears as water, painted in a reddish brown with light blue highlights. Above the water, we can see a bright red area with a palm tree with light brown trunk and red leaves. Around the tree, we can see a field in gold and green meeting a blue sky. The sky is dramatic, painted in red, orange, blue, white and grey. Above the golden field, the sky has opened. We can see a rainfall below dark grey clouds, and behind the clouds, rays of sun. The rest of the sky is bright red. To the right of the figure, the water continues, upwards, next to their right shoulder, and forming a pool at the bottom right half of the painting. Above the water, we can see a red field meeting a grey mountain in the horizon. In the distance, to the left of the mountain, we can see a palm tree with brown trunk and green leaves, and further to the right, in the foreground, a large palm tree painted in bright red. To the right of the red palm tree, we can see a smaller tree and a figure. The figure has a human body painted in grey with orange and red outlines. From the figure's back, two wings painted in grey and white emerge. The figure has shoulder length hair but its facial features are not distinguishable, painted in grey and dark blue. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Close view of a painting in previous installation views, hanging on a white wall.  The painting is rectangular and in portrait format, and has both figurative and abstract elements. At its center, we can distinguish a figure, seen from the shoulder and up. It appears as if we are viewing the figure from behind their left shoulder. The figure is looking back at us, and their head is seen slightly in profile. The background is painted in a dark blue with thin layers of paint. The figure's back and shoulder is painted in a similar hue, and their left shoulder is outlined with a thick stroke in radiant blue. Their face is painted in thin layers over blue, and the paint has been bleeding around the eyes, and pouring out to the right below their ear and neck. The eyes are only distinguishable as dark splotches, but the nostrils and the mouth has been painted in yellow. The ears are large and pointy, appearing as those of a mythological creature, such as an elf, or an animal. Above the figure's head in the top right corner of the painting, we can see a stroke in radiant blue, looking like a half moon or the letter C in reverse. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Close view of painting hanging on a white wall, seen in previous installation views. The painting is in landscape format, and depicts two figures at the bottom center of the painting, kissing, against a dramatic sky and landscape. In the upper half of the painting, we can see clouds painted in dark brow with white highlights, and behind them, we can see a light yellow sky with a few dark blue and red areas. Just below the center of the painting, we can see a horizon line, and below it, what might possibly be water painted in pale green, with a sandy island below the skyline, painted in pink.  The two figures are seen in profile, and cropped just below their chests. Behind them we can see a large disk, painted in orange, possibly a sun, that sits at the bottom edge of the painting and extends just above the horizon line. The left figure is painted in only a black, thin outline. The hair hangs down over her back, her eyes are closed and we can see her full breasts in profile. The right figure is outlined in black, and their upper body is partly painted in a transparent white. Their face is painted in brow, and their black hair is short and longer in the back. Some of the curls are hanging down their neck. On their chin, we can see black horizontal lines painted. Their eyes are closed. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Close view of a painting in previous installation views, hanging on a white wall. The painting is rectangular and in portrait format, and at its center it depicts a woman, cropped just above chest hight, and set in an oval shape in peach tone, against a pale blue background. The woman's skin is dark, painted in brown, and her upper body and neck are bare. On her head she is wearing a bonnet, tied in the back, painted in white and grey. Over her forehead, locks of black hair curls. Her lips are dark brown, and slightly open in a careful smile, revealing parts of her white teeth. Her nose is small and her eyes dark and oval shaped, framed by black, curved eyebrows. She is looking slightly to the left. At her chest and around her left shoulder, brown paint has bled into the peach colored oval background. The blue background is painted in diluted paint, revealing the white priming, especially around the edges and at the top left corner. The grain of the canvas is visible. Below the painting, we can see a subtle shadow on the wall.

Close view of painting from previous installation views hanging on a white wall. The painting is rectangular and in portrait format, and depicts in the center, a woman cropped at her ankles. The woman is standing with her arms at her side, the left one slightly lifted. Her nails are long, and painted in a burgundy red. Her skin tone is green, with white highlights and beige shadows. She is naked, and we can see her bellybutton and her full breasts. She is wearing a short, transparent skirt painted in light grey. Through the skirt, we can see her dark pubic hair. Her long, curly brown hair hangs behind her back. Her mouth is painted in a reddish brown, and her lips are closed. She has a small, narrow nose and thin, curved eyebrows in reddish brown. Her eyes are brown, and she is looking slightly to the left. Her cheek bones are visible and she has a serious facial expression. She is standing against a background painted in browns and reds. At both sides of her body, up to her chest, we can see large flowers, painted in various reds, brown and blacks. Except for some highlights in white and bright red, they blend in with the background. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Close view of painting from previous installation views hanging on a white wall. The painting is rectangular and in portrait format, and has both figurative and abstract elements. Depicted at the center of the painting is a head from the neck up, seen in profile, facing left. The head is painted in a terracotta brown, with transparent white highlights on the head and eyes, eyebrows and ear barely marked in dark grey. In front of the head, to the left, at the hight of the mouth, we can see another area painted in the same terracotta brown, which is possibly a hand reaching to the mouth. In the background, we can see what appears as a sky, painted in a purplish blue tone with some white fog. Below the sky, we can see what looks like mountains, with two mountain tops visible on each side of the head. The mountains are painted in brown and grey tones, and extend down to the bottom of the painting where they meet white irregular and abstract fields, and at the very bottom, a field of reddish color. On top of the red and white, a group of flowers sprawl over the bottom half of the painting and up to the neck of the head. They are round in shape, and painted in a deep reddish brown. We can see some stems and leaves in a pale, cool green, and in the left bottom corner, a shape in dark purple that appears as a vase from which flowers arise. The grain of the canvas is visible. Below the painting, we can see a shadow on the wall.

Inès di Folcothe last dream before birthLaurel Gitlen, New York

Exhibition Images

Inès di Folcothe last dream before birth
Laurel Gitlen, New York