C H R I S T A  J O O  H Y U N  D ’A N G E L ODAngelo_HOME.htmlDAngelo_HOME.htmlshapeimage_1_link_0


Solo Exhibition, Galerie Suvi Lehtinen Berlin / 2011

Often resembling deconstructed romance novels; Christa Hyun D’Angelo’s “books” seduce viewers using the slick language of advertising and its serial appeals to purchase.The pieces in Spectacular Society are manic alterations of books that reveal the structure of commercial seduction through obscuring its main characters; models, products, sex, luxury. Using a subtractive process and a tool not unlike a scalpel, D’Angelo obfuscates movie posters and Taschen books, in one instance, compounding the mystical allure of Isabella Rosellini by altering a still from Blue Velvet.

For her installation at Suvi Lehtinen Galerie, D’Angelo plays with the pedagogy of Hollywood by positioning her pieces dramatically on identical IKEA pedestals, a smirking nod to Guy Debord’s crass “spectacle.” However, D’Angelo’s referendum on sameness is belied by the obsessive yet measured nature of her craftsmanship. D’Angelo’s hand is most certainly the protagonist in her compulsively worked pieces, and is the vehicle through which her critique of pop culture machinery is most clearly elucidated. D’Angelo gravitates towards highly saturated colors and fleshy body parts, heightening the cinematic promise of each piece and often alluding to acts of past violence with Bellmeresque limbs and unsettling invitations.

Having previously studied Polish Poster Art in Krakow, her work seems both Informed by and critical of, propagandistic design.  Supplementing her altered books, D’Angelo presents a back room of instrumental reading material; highly personal tomes like T.J. Demo’s analysis of Dara Birnbaum, entitled, Dara Birnbaum: Technology/Transformation: Wonder Woman (AFTERALL). With this act of generosity, D’Angelo again straddles the line between faceless branding and the idiosyncratic gesture.