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Currently, Adela Andea has a solo show at Cris Worley Fine Art.  Andea’s work of the past 8 or 9
years might have been described as digital psychedelic or maybe rave art. Things were glowing,
moving, and wires are running all over the place. In fact, the piece titled Jessant-de-lys still
embodies this aesthetic. However, the rest of the show has moved into the realm of New
Baroque. She says her trip to the Palace in Versailles, France help shape this body of work,
and I can see the influence quite clearly, especially in the piece titled Hall of Fragmented
Mirrors. The reflective surfaces have the look of something expensive and extravagant, but
the little triangle pieces are so thin and delicate that you fear getting close, so as not
to break them.

Though that might not be the case for her piece titled Poudretteite. The title of the sculpture is
named after an extremely rare, pink mineral. Of course, the piece is pink and though abstract,
still seems to reference a body or dress. I see a clearer picture that Andea is using this sense of
opulence as something to tap into and explore.  It feels positive and playful. I just can’t decide
if she is also pushing the boundaries between fine and decorative art or blazing a trail for
abstract art. Either way, she has made me think about her show for weeks.  
Poudretteite, 2016, Plexiglas, LED
60 x 32 x 32
Jessant-de-lys, 2016, styrene, LED, Plexiglas
36 x 32 x 16 inches
Another New Baroque artist is Jeff Koons. I remember reading several articles about his
show at Versailles. His over the top, extravagant art at the palace came with mixed
reviews, but I thought his work fit completely with the surrounding aesthetics. Koons’
work is about kitsch and the French Monarch’s attempt to build a paradise away
from Paris and the people’s problem. This was also an exercise of kitsch that ultimately
ended in tragedy.  Another New Baroque artist is Joana Vasconcelos. She showed
her garish art objects that illustrate the absurdity of luxury. Some New Baroque are
critical of excess and others embrace luxury, I think Andea’s work is more ambivalent
on the topic. Her work invokes the ideas of splendor without embracing over the top
Hall of Fragmented Mirrors, 2016, styrene, LED, Plexiglas
38 x 32 x 20 inches. Installed: 54 x 48 x 20 inches
Adela Andea will be up till September 3rd at Cris Worley Fine Art. You might also see another
example of this New Baroque art at the Dallas Contemporary. Paola Pivi’s feather bears are
extremely Baroque.
Surface Fusion, 2016, styrene, LED, Plexiglas
30 x 24 x 16 inches. Installed: 40 x 28 x 16 inches