Selected works by Marie Angeletti

Marie Angeletti
TLYA 06_JM Black Black / TLYA 07_Joelle's desk/ TLYA 08_Speedway


Digital print on dibond, digital print and Fujiflex print

147 x 95 cm, 148 x 96 cm, 46.5 x 76 cm

The advent of photography as an image-making technology had a profound and irreversible affect on the tradition of painting. If one could capture life mimetically, what did painting bring to perception that photos couldn’t? In our own time, the Internet and its acceleration of images, both in their proliferation and exchange, has had a similar impact on artistic practice.

Marie Angeletti
TLYA 13_Tourists/ TLYA 14_Parrott/ TLYA 15_La Novice/ TLYA 16_SR 2014


Fujiflex on dibond, digital print on stainless steel, digital print and C-print

80 x 54 cm, 79.5 x 54.5 cm, 42 x 30 cm, 69.5 x 43 cm

Marie Angeletti’s work delicately spins an associative web between images that you might find through a Google search. At once a personal cosmology, and a seemingly arbitrary assemblage of images, their combination spins a multiplicity of possible readings.

Marie Angeletti
TLYA 18_Instant magique/ TLYA 19_Piano/ TLYA 20_Palais des Papes


Oil on canvas, C-print and watercolour on paper

116 x 88 cm, 111 x 74 cm, 32 x 24 cm

Here a piano, there a portrait painting; images here speak a little of affect, and a lot of the process of image-making itself. Juxtaposed, spliced together, scanned, rescanned, photographed and re-photographed – these acts of continual reproduction distance the image even further from the subject it supposedly indexes.

Marie Angeletti
TLYA 21_Minnie/ TLYA 22_Lady Pink adjusted/ TLYA 23_Famous replica


Fujiflex on dibond and two digital prints on dibond

70 x 45 cm, 147 x 73.5 cm and 147 x 129, 147 x 299 cm

Has Angeletti emptied these images out of any possible meaning? Or in doing so has she birthed new readings that speak more powerfully of the moment of image culture in which we unwittingly find ourselves? There seems only a productive ambiguity between these two states.

© Natasha Hoare, 2015


October 2012, by Martin Herbert, Frieze magazine

A slim black metal rail ran round the walls of Marie Angeletti’s debut solo show, ‘Mixed Feelings’. Fixed at the midway point, this minimalist dado traversed the boxy ingress where press releases are stacked, crossed the glassed frontage and created a limbo bar blocking the office. Attached, in various configurations – alone, or in pairs and triplets that sometimes felt logical, sometimes didn’t – were 13 coolly composed photographs by Angeletti, a recent RCA grad who was selected for ‘New Contemporaries’ last year. Maybe the steel-framed images were magnetized and easily movable; certainly it seemed as though they could have been pushed like beads on an abacus, reordered like beads on a thread. Given its inconveniencing quality, this wasn’t just an eye-catching response to questions of display. What Angeletti wants to foreground, right off the bat, is instability and modularity as they play out within, and between, supposedly indexical images.
Some of hers look found and re-photographed, some don’t. One would hazard that, here, editorial photographs mixed with in-house documentation of objects for auction and Angeletti’s self-shot photos, though part of her work’s low-watt vexation is that we don’t always know which is which. Mf 1 VA Jewellery 01, 02 and 03 (all 2012), clustered together in a three-part aerial view of a jewellery display, deploy a sumptuous yet hard, contrasty look whose Avedon-ish tones are suggestive of a 1960s magazine advertisement. On its own, with its elegant wristbands, gilded butterfly brooches, necklaces, bracelets and combs neatly arrayed, it’s a bit of a puzzler: a sort of mutely retro take on Christopher Williams. But when the image beside it, Mf4, Urara yellow (2012), features a Japanese girl in red underwear looking melancholically past us, we may start thinking about geishas even though the subject isn’t quite inherent in either image. It precipitates softly between them, in a sort of mutual tincturing. (See the show’s title.)From here the exhibition extrapolated, associated and unravelled smoothly. There were more Japanese signifiers and more historical ones.Mf11, VA s_141 (2012) zooms in on the lower halves of three women in short skirts and heels, holding geometrically patterned leather handbags. Mf8 Brazaville Coll. 01 and Mf9, Brazaville Coll. 02 (both 2011) feature the same museum examples of ivory figures, including a squat laughing Buddha, under – somewhat literalist this, perhaps – shifting combinations of pinkish-purple light. Mf10, Auction Catalogue 01 (2012) stars another figurine, this one a semi-recumbent woman stretching out her arms and holding what appears to be a tambourine; the figure is obscurely contextualized with a lamp, an ersatz spotlight. (Something to do with a graphic design snafu in an auction-house catalogue, it would appear.) Dancers, or performing women, recur inMf13, Ballerina (2012).
If one were looking to tie this work down via iconography (precisely the wrong approach), one might be tempted to see Angeletti as here pursuing a semi-oblique feminist agenda orbiting around performance, role-play, adornment, containment.