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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.
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.
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
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 |
