Enantiodromia Part I


Questions for Angela de la Cruz and Simon Callery:

Enantiodromia Part I

abstract critical asked a series of seven questions to the four artists showing in the Fold Gallery exhibition Enantiodromia. Below are the responses by Angela de la Cruz and Simon Callery; you can read what Lawrence Carroll and Onya McCausland had to say on the abstract critical website.

Angela de la Cruz

Do you see your work as continuing or rejecting the tradition of painting?

I am continuing the tradition of painting. I use very good quality, traditional, materials. It is very important for me that everything is made to a very high standard so for that reason I use quite traditional methods. I believe that if you want to continue the language of painting, you have to use very good technical understanding and you have to know what you are talking about in terms of the history of painting. If you know that, then you can choose to reject it or break it.

What does the word ‘image’ mean to you?

I want to project an image of what my work is about, even if it’s quite abstract physically. I impress figuration on the outside of the painting through my titles, which are quite anthropomorphic.

The works in the exhibition tend to the monochromatic – what do you think lies behind this avoidance of complex colour?

I use the scheme of minimalism because it suits my work and my language. I often use the colours of what is currently in fashion, which I follow quite a lot. I believe fashion is a reflection of the economical times.

Are you an abstract artist?

Yes, I am an abstract artist but only aesthetically. I use the same colours most of the time, and the same shapes because I quite like to recycle everything so the works can be transformed into another work, which is quite traditional – artists have done that since the beginning of time.

Who are your antecedents?

Robert Ryman, Lucio Fontana, Luc Tuymans, Marcel Duchamp, a mix of Minimalist and Arte Povera artists. But I am influenced a lot by film directors such as Luis Buñuel, Jacques Tati, Lars von Triers, Herzog, at the moment I like Wes Anderson a lot. Fashion (especially the Belgian designers – Dries van Noten and Martin Margiela), literature, politics and everyday life are also great influences.

If you accept the idea that your work is three-dimensional or extended painting what distinguishes it from sculpture?


Why do you make physical objects when the whole breadth of the ever-expanding field is open to you?

The physicality of objects interests me, and I believe it is still relevant.


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