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Angélique Heidler pays just as much attention to painted images as she does to the sculptural qualities of these paintings, their props, frames and canvases. Her paintings are composites of elements that she gleaned, found in the streets, brought in discount shops or bargain-hunted in bric-a-brac shops. Business cards, press cuttings, decrepit paintings, fabric scraps, stickers, flyers… Angélique Heidler uses images and precarious products as her raw material, thus highlighting the grey, dirty and remote areas that are street life and living on the margins. Her approach is paradoxical because it is both ironic and nonchalant, honest and sentimental towards the result of her collections, these dated objects and images that she sticks, copies or reproduces to exacerbate their bizarreness. Her project consists in stirring the leftovers of consumer society, using them as a base to compose systems of symbols, and turning survival into a form of aesthetics. Her pictures are pared-down combine paintings that often evoke trashy mood boards. They open spaces where
the detritus of our collective, mercantile, media and digital memory meet. Angelique Heidler reconnects with the tradition of irreverential painting, from Neo- Expressionism to Bad Painting and designs her works like insults. Liberating insults even. Her touch is smooth instinctive, excessive. Bright colours, hurried brushstrokes, kitsch references. The nonchalance is accepted and must be pushed to the point of no return. Angélique Heidler’s paintings are sometimes created in just a few hours and aim for a certain instinctive wildness and establish a direct confrontation with the viewer. It is a confrontation that reshuffles the cards of good taste.
Julie Ackermann, 2018
Angélique Heidler is a French painter born in 1992, she currently lives and works in Ivrysur-Seine. She graduated from the Slade School of Fine Arts in 2015. Her instuitive painting
practice is structured in conjunction with collage and diverse printing techniques that echo the paradoxical dualities embedded in consumerism’s representations. She uses
aesthetic references from the endless flux of media and marketing, most of the time to evoke the nuanced construction of identity and individuals. Her work has been shown in France and internationally, in solo and collectives exhibitions such as : Roses 1666 II, Le Hublot, Ivry, 2022; In den Besten Jahren, Little, Bern, 2022; Piselli, Bad Water, Knoxville,
2021; Haus Wien, Ginny on Frederick, Vienna, 2021; Masterless Eye, Yudik One, Brescia, 2021; Your Friends and Neighbors, Hight Art, Paris, 2020; Softview/Privatissime, Neuer Essener Kunstverein, Essen, 2020; Stay Safe, Shivers Only, Chantemanche, 2020; This Tragedy, Fonda, Leipzig, 2020; BAITBALL (01), Palazzo San Guiseppe, Polignano A Mare, 2020; solo presentation, Shivers Only, Material Art Fair, Mexico City, 2020; Heidler Mailaender, Galerie Derouillon, Paris, 2019; On ne sait plus quoi penser du serpent qui a
peur, Galerie l’Inlassable, Paris, 2019; Outside Our, Villa Emerige, Paris, 2018; The Unlimited Dream Company, Hannah Barry Gallery, London, 2017; The Dark Ages, Supplement Gallery, London, 2017. She was a resident at Stadtgalerie Bern (CH, 2021), Plop (UK, 2019), LaWayaka Current (PA, 2016), Villa Lena (IT, 2016). She was shortlisted for the 5th edition of the Révélations Emerige award (FR, 2018).