Richard Aldrich

Marc Foxx, Los Angeles

Marc Foxx

Installation view of a gallery space with a white wall and grey, concrete floor. On the white wall, we can see three paintings hung with equal space between them. They are all white, rectangular, in portrait format and have photographic slides in color mounted to them. The painting in the center is large-scale whereas the two on the sides are small-scale. In the ceiling, we can see parts of white beams in vertical and horizontal directions.

Installation view of a gallery space with two white walls, and concrete grey floor. The left wall takes up most of the upper half of the image, and meets the right wall in a corner to the far right in the image. In the center of the left wall, we can see a large, white rectangular painting in portrait format with think wooden sticks attached to the surface. To the right of the large painting, we can see a smaller painting in portrait format in colorful abstract pattern. On the right wall, we can see a medium sized white painting in portrait format with a backlit photo slide mounted to the surface. In the ceiling, we can see a white, large horizontal beam with beams in a zig zag pattern on top of it. Below this beam, white, narrower beams run vertically, perpendicular to the left wall. We can also see a railing with spot lights.

Installation view of a gallery space with a white wall and grey, concrete floor. On the white wall, we can see three paintings hung with equal space between them. They are all rectangular, and in portrait format. The left one is a small-scale black monochrome, the middle one a large white painting with a cut-out in the center, and the right one in a small-scale painting with a colorful geometrical pattern. In the ceiling, we can see parts of white beams in vertical and horizontal directions. In the ceiling, we can see white beams running vertically, perpendicular to the  wall. Across these, we can see a railing with spot lights.

Installation view of a gallery space with a white wall and grey, concrete floor. Above the wall, we can see a slanted ceiling. In the ceiling, white beams run parallel to the white wall, and where they meet slightly off center to the right in the image, a large white beam protrudes into the room perpendicular to the wall. To the left in the ceiling, we can see five spot lights. On the wall, we can see two paintings hanging below the large beam. To the left, we can see a small-scale white painting in portrait format with a piece of cloth attached to the surface. To the right, we can see a large-scale abstract painting with red and grey shapes against a white background. To the right of the wall, the room continues further back into the image, where we can see a doorway. Through the doorway, we can see daylight coming in, and glimpse a courtyard with green grass and a light grey wall. The concrete floor reflects some of the light.

Installation view of a gallery space with a white wall and grey, concrete floor. On the white wall, we can see two paintings in portrait format. The painting to the left is large-scale, primed in white, and on its surface we can see a collage of wood sticks, paper, and canvas. The painting to the right is small-scale, and painted in beige, blue, green and back abstract shapes. In the ceiling, we can see narrow white wooden beams protruding perpendicular to the wall. Above them, we can see white planks on the diagonal, making up the ceiling.

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 piece of woven cloth has been mounted directly onto the canvas. In the center of the cloth, we can see a yellow cross against a burgundy background with a pattern of white dots. Around the burgundy area, we can see a fringe-like bluish material, zig-zagged with dark brown thread. From the upper right corner of the cloth, a string of twirled cloth extends upwards to the right, and then downwards again. At its end, it forks into two small blue strings that curls upwards and to the right. Below the painting, we can see a subtle drop 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. Above the center of the painting, a photographic slide has been mounted directly onto the canvas. The photo slide appears to be of a painting. In the slide, we can see two people. To the left, we see the back of a person with brown shoulder length hair and a blue jacket with a white collar. To the right, we can see a man with light skin and brown short hair, wearing a grey shirt. He is looking at the person in blue jacket, and they appear to be engaged in a conversation. The slide is framed by a black frame, and it sits within a white paper frame. The slide appears lit from behind. Below the painting, we can see a subtle drop shadow on the wall.

Close view of the photographic slide seen in previous image. The photo appears to be of a painting. In the slide, we can see two people. To the left, we see the back of a person with brown shoulder length hair and a dark jacket with a white collar. To the right, we can see a man with light skin and brown short hair, wearing a grey shirt. He has light blue eyes, and is looking at the person in dark jacket, and they appear to be engaged in a conversation. They are in a room with white walls, and in the background we can see what looks like the shoulder of someone wearing black. The photo is framed by a black frame, and it sits within a white paper frame. The slide appears lit from behind. Around the slide, we can see the grain of the canvas underneath the layer of white prime.

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 two square pieces of dark blue or black cloth mounted directly onto the canvas. They sit at the same distance apart from each other as to the vertical edges of the canvas. They are slightly tilted outwards. Below the painting, we can see a subtle drop 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. In the lower left half of the painting, we can see a vertical white-painted wooden stick mounted directly onto the canvas. It ends just above mid-height of the painting, from where a similar stick about half as long, extends at a slight angle to the right. At the top of this stick, a white piece of paper in the shape of a pennant with green paint on it extends to the right, whereas to the left, we can see a severed tortillon, a drawing tool, mounted onto the canvas. The composition looks a little like a plant. To the left in the canvas, we can see a wooden stick mounted parallel to the white wooden sticks. At the top, smaller wooden sticks have been attached. To the right of this, in the bottom right corner of the painting, we can see a smaller and wider vertical rectangular piece of canvas stapled to the canvas. At its top and bottom edge, we can see raw canvas, and at its center, a brown square, possibly packing tape. The composition make the objects look like sea reed. Below the painting, we can see a subtle drop shadow on the wall.

Close view of a painting hanging on a white wall, seen in previous installation images. The painting is in portrait format, and primed in white. Just above the center of the painting, a rectangle oriented diagonally has been cut out. Through the cut-out, we can see the white wall behind the painting, and a drop shadow below the upper edges of the rectangular hole. Slightly above the cut-out, and to the left, we can see the word "ufo" in lower case black letters in sans-serif font. The text appears stenciled onto the canvas, and is slightly smudged. Below the painting, we can see a subtle drop shadow on the wall.

Close view of a painting hanging on a white wall, seen in previous installation images. The painting is in portrait format, and primed in white. About one forth in from the left and right vertical edge of the painting, we can see two columns of three photographic slides symmetrically mounted onto the canvas. The slides are all monochrome, and sit within a white paper frame. In the first row from the left, we can see a purple and a red slide; in the second row, a yellow and green slide; and in the third row, a blue and a green slide. The slides appear lit from behind. Below the painting, we can see a subtle drop 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. Above the center of the painting, a photographic slide has been mounted directly onto the canvas. The photo slide appears to be of a room with a white wall and grey floor. Against the wall, two paintings are leaned, and on the foreground on the floor, we can see some colorful objects of which one is box-shaped. The slide sits within a white frame, and appears lit from behind. Below the painting, we can see a subtle drop shadow on the wall.

Close view of the photographic slide seen in previous image. We can see a white wall in the upper half of the photo, and a grey floor in the lower half. We can see two paintings leaned against the wall: to the left, a white primed canvas with a face outlined in black, and to the right, a white canvas with handwritten text in blue. On the floor, to the left, we can see a rectangular wooden box with a light blue cylinder-shaped object attached to its right side. To the right of the box, we can see a sculpture of a cartoon penguin that is connected to a power plug next to the painting of a face via a black cable. The lower half of the photo consists in a superimposition. The penguin sculpture and the box are doubled, and seen twice from two different angles. The slide appears lit from behind, and sits within a white frame with the text "pakon" vertically embossed on its right side. On the left side of the frame, we can read "This Side Toward Screen" written in caps. Around the slide, we can see the grain of the canvas underneath the layer of white prime.<br><br><br>

Close view of a painting hanging on a white wall, seen in previous installation images. The painting is in portrait format and almost entirely monochrome. On top of a white painted surface, black paint has been applied. The black paint covers almost all of the surface of the painting aside from some glimpses of the white paint around the edges of the painting. Except from smooth areas around the edges, the surface of the painting is rough, and with visible creases and lumps. 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 five color fields in the painting, roughly rectangular but not symmetrical or neat. In the left half of the painting, and in the top left corner, we can see a small black rectangular field. Below it, a larger yellow square area. Below the yellow area, we can see a large, orange rectangular field. In the right half of the painting, in the top right corner, we can see a grey field that extends down to about the center, with its lower right corner diverging diagonally upwards. Directly below it, we can see a turquoise rectangle with its upper right corner diverging diagonally upwards. In the center of the painting, we can see a dark green, vertical brush stroke. Where the black and yellow fields meet, we can see a horizontal dark green brush stroke which crosses over into the grey area on the left in the painting. Overall, the paint is applied roughly, and with visible brush strokes. 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. Against a white background, from the bottom corners to the top center of the painting, two long, rectangular grey fields extend, forming an upside down U. Where the fields meet at the top, we can see a small grey rectangle with two triangles, one white and the other light grey, to left and right. The grey fields are painted in large strokes, with some of the white background coming through at parts. We can also see dark blue strokes in the grey paint, as well as strokes in a lighter grey with purple tones. From the top to the bottom, we can see five red, thick horizontal stripes, equally spaced. They are painted in a haphazard way, and are not quite straight. Below the painting, we can see a subtle drop shadow on the wall.

Close view of a rectangular painting hanging on a white wall, seen in previous installation images. The painting is in portrait format. Against a background of a light golden brown lively brush strokes, which increase in opacity from left to right, we can see green and white abstract shapes. At the top of the painting, we can see a round shape to the left that morphs into a horizontal line extending to the right. Around it, we can see dots and blots in green and white. In the middle of the painting, we can see a large smudge in white surrounded by drops. Two smaller round shapes in green morph into vertical strokes, extending downwards. From the bottom left corner, we can see a vertical, thin green stroke with horizontal strokes crossing it. It ends at the center of the painting in a circle with thin lines extending from it in various directions. We can see very thin horizontal black lines in the upper right half of the painting. Below the painting, we can see a subtle drop shadow on the wall.

Richard AldrichSlide PaintingsMarc Foxx, Los Angeles

Exhibition Images

Richard AldrichSlide Paintings
Marc Foxx, Los Angeles