Cristina de Miguel
Cristina de Miguel
Ed is Dead, 2017
Acrylic, oil, crayon, spray paint, and collage on canvas
72 x 60 inches
Cristina de Miguel
Good Yoga, 2017
Acrylic and crayon on canvas
72 x 60 inches
Cristina de Miguel
Incredible Shoulders, 2017
Acrylic, oil, spray paint, and collage on canvas
72 x 60 inches
Cristina de Miguel
Lo Siento, 2017
Acrylic, oil stick, spray paint, and collage on canvas
60 x 56 inches
Cristina de Miguel
Music is Math, 2017
Acrylic, oil, spray paint, colored pencil, and crayon on canvas
72 x 60 inches
Cristina de Miguel
Park Decay, 2017
Acrylic, oil, spray paint, colored pencil, and crayon on canvas
74 x 96 inches
Cristina de Miguel
RAM 2, 2017
Acrylic, crayon, spray paint, and collage on canvas
72 x 60 inches
Cristina de Miguel
The Procession, 2018
Acrylic, spray paint, and crayon on canvas
74 x 96 inches
Cristina de Miguel
Three Men, a Head, And a Plant, 2017
Acrylic and oil on canvas
60 x 50 inches
Cristina de Miguel
Walking Dogs in 100 Degree Weather, 2018
Acrylic, spray paint, crayon, and collage on canvas
69 1/4 x 59 5/8 inches
Cristina de Miguel
New Paintings
January 25 through February 24, 2018
Opening Reception: Thursday, January 25, 6 – 8pm
Fredericks & Freiser is pleased to present an exhibition of new paintings by Cristina de Miguel. The Spanish-born artist makes energetic figurative paintings built upon a network of neo-expressionistic affinities, graffiti-inflected spray paint, and absurd narratives.
De Miguel’s paintings also display a willingness to reconcile opposite concepts. Her figures are by turns, dignified and debased, often distorted for the sake of both composition and emotional resonance. She saturates her canvases with a buoyant sense of color yet there is a dissonance that is strangely perverse and dark. She is a storyteller who seems to be without an interest in anecdote or explanation. While her private iconography suggests mythology or allegory, she is deeply interested in the ambiguity created by not having a fixed center of meaning.
De Miguel’s paintings are highly intuitive. The paint application is visceral and emboldened. Beyond technique there are echoes of art history; whether it is the neo-expressionist gesture of a few decades ago or a more distant echo of Spanish iconography such as horses and musicians. Yet de Miguel is a deceptive painter. She is not without subtlety and misdirection. What at first appears to be familiar becomes surprising.
Upcoming Exhibitions:
Gary Panter: March 8 through April 14
Zak Smith: April 26 through June 2
