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EDIE NADELHAFT
Artist Statement :: September 2010, AAF-NYC
The paintings and sculpture in this exhibit are representative of three distinct bodies of work.
The Cherry Biters are greatly magnified, highly detailed oil paintings of myself biting into a cherry.
The perspective ranges from close to extreme close-up, culminating in a focal point narrow enough
to exclude all contextual and biographical information. The biter is captured mid-chomp, teeth
tearing at the fleshy fruit, suspended in a macabre state of pre-demolition. The cherry, half-chewed is
often unidentifiable. Lusciously rendered in vivid hues, the pictures are decadent, and unabashedly
sexual, but the subject is something more inclusive than lust. It is, rather, the totality of sensual
pleasures involved in the experience: the visceral satisfaction of crushing the thing in one’s teeth,
the burst of flavor, the succulent juice and finally, the satiation of hunger.
Artist Statement :: September 2010, AAF-NYC
The paintings and sculpture in this exhibit are representative of three distinct bodies of work.
The Cherry Biters are greatly magnified, highly detailed oil paintings of myself biting into a cherry.
The perspective ranges from close to extreme close-up, culminating in a focal point narrow enough
to exclude all contextual and biographical information. The biter is captured mid-chomp, teeth
tearing at the fleshy fruit, suspended in a macabre state of pre-demolition. The cherry, half-chewed is
often unidentifiable. Lusciously rendered in vivid hues, the pictures are decadent, and unabashedly
sexual, but the subject is something more inclusive than lust. It is, rather, the totality of sensual
pleasures involved in the experience: the visceral satisfaction of crushing the thing in one’s teeth,
the burst of flavor, the succulent juice and finally, the satiation of hunger.
The Bovine Portraits in Hexadecimal Hue are a
series of monochromatic oil paintings of cows. The
work explores themes of existentialism, portraiture
and the impact of the digital on visual experience.
Each picture begins with a photograph that is
digitally manipulated to produce a monochromatic
"head shot", the hue for which is chosen from the 216
colors of the basic Web palette. The facial
“expressions” implied by the anatomical
idiosyncrasies of these subjects evoke a wide range of
human emotions: the heavy brooding brow and
steady gaze inspire touching associations of fear,
innocence, anger, and vulnerability; large eyes and
long lashes are at once charming and disconcerting.
But the body of work as a whole is intended to be
humorous as well-a little joke about the history of
portraiture, which is largely a tale of the very rich
immortalized in self-important displays of wealth
and power. In creating these works, I have elevated
cattle, a traditional symbol of said wealth, to that
same stature.
series of monochromatic oil paintings of cows. The
work explores themes of existentialism, portraiture
and the impact of the digital on visual experience.
Each picture begins with a photograph that is
digitally manipulated to produce a monochromatic
"head shot", the hue for which is chosen from the 216
colors of the basic Web palette. The facial
“expressions” implied by the anatomical
idiosyncrasies of these subjects evoke a wide range of
human emotions: the heavy brooding brow and
steady gaze inspire touching associations of fear,
innocence, anger, and vulnerability; large eyes and
long lashes are at once charming and disconcerting.
But the body of work as a whole is intended to be
humorous as well-a little joke about the history of
portraiture, which is largely a tale of the very rich
immortalized in self-important displays of wealth
and power. In creating these works, I have elevated
cattle, a traditional symbol of said wealth, to that
same stature.
The pills, like the actual drugs that inspired their design, are pretty, shiny things to chase away
your blues or blahs. Inscribed with SMS shorthand, these pieces are a light-hearted send up of viral
marketing and our culture's enduring love affair with the quick fix and snappy comebacks.
your blues or blahs. Inscribed with SMS shorthand, these pieces are a light-hearted send up of viral
marketing and our culture's enduring love affair with the quick fix and snappy comebacks.
Edie Nadelhaft is a native of Pittsburgh, PA. She studied
painting and art history at S.U.N.Y. at Purchase and
received her BFA, with honors, from the Massachusetts
College of Art in 1995. Since 1997, she has lived and
worked on the Lower East Side of Manhattan. Her
paintings and sculpture have been widely exhibited
throughout the United States with solo shows at
Kumukumu Gallery and Dance New Amsterdam in NYC,
and the Affordable Art Fair NYC in September 2010. In
2008, Ms. Nadelhaft was awarded the Platte Clove Artist
in Residence Grant by the Catskill Center for
Conservation and Development. In her spare time, she
enjoys riding her motorcycle and bad cop shows.
EDIE NADELHAFT | 195 Chrystie Street, NYC 10002
| edie@edienadelhaft.com |
www.edienadelhaft.com
painting and art history at S.U.N.Y. at Purchase and
received her BFA, with honors, from the Massachusetts
College of Art in 1995. Since 1997, she has lived and
worked on the Lower East Side of Manhattan. Her
paintings and sculpture have been widely exhibited
throughout the United States with solo shows at
Kumukumu Gallery and Dance New Amsterdam in NYC,
and the Affordable Art Fair NYC in September 2010. In
2008, Ms. Nadelhaft was awarded the Platte Clove Artist
in Residence Grant by the Catskill Center for
Conservation and Development. In her spare time, she
enjoys riding her motorcycle and bad cop shows.
EDIE NADELHAFT | 195 Chrystie Street, NYC 10002
| edie@edienadelhaft.com |
www.edienadelhaft.com
| Heidi Russell Present's Edie Nadelhaft |
