Public Project, Harbor Park Garage, Baltimore, April 2019
Downtown Baltimore got a surprise this April, with the reveal of a large format work of art affixed to the side of Harbor Park Garage, a parking garage located at 55 Market Place. The artwork, which is visible from the Jones Falls Expressway, is a custom piece by artist Edie Beaucage.
The piece is a 70-foot tall vinyl banner based on a series of paintings created and digitized by Beaucage. The banner is indicative of Beaucage’s signature style. It is vibrant, with broad, visible brushstrokes conveying action and energy, and light, bright colors...
Voyage LA Interview of Edie Beaucage, March 2019
In this interview, Edie talks about her personal history, what she is looking for in her work and what she thinks the future of our artists community in Los Angels could look like in the future.
Edie: "LA is THE place to be for painters today! The art schools here have stellar faculty: Otis College of Art and Design, UCLA, Cal Arts, and Art Center are creating about 100 talented MFA graduates every year. I think it would be great if each school had as many scholarships as possible to accept artists from everywhere and become more affordable. How about Snap Chat, Instagram and Google sponsoring scholarships and residencies all over town? I suggested in a meeting for the future of Santa Monica Airport (who will be transformed in a few years into a new type of Industrial/Art Park) that Silicon Beach could sponsor studio spaces available for grads for two years after graduation to get them started."
KCRW Interview with Frances Anderton DnA, November 2018
Frances Anderton's DnA explores moments in Otis College of Art and Desgn history. October 2018. Otis history tracks with LA’s growth as an art and design capital -- from its founding on Wilshire Boulevard through its transition with artist Billy Al Bengston in the 1950s.
Alum Garth Trinidad (yes, that’s KCRW’s own DJ Garth Trinidad) recalls the struggles in the 1990s and remarks on its blossoming in Westchester today.
Edie Beaucage talks about being part of the new generation that has revived painting in the 2010's.
Review Sequencer-Spectrum-Reverb, Art and Cake, October 2016
Annie Seaton review in Art and Cake LA: "Hipsters sporting beards and mustaches inhabit this world on canvas. They sport beanies and pork pie hats. Multiple personality-driven works, such as Local Fluff and Super Bubble are über cool and seem to kick-back with one another, both painting to painting and within their own framed worlds. Like Davis, who painted compositions of his time living in New York during the birth of the Jazz age and incorporated pop symbols, such as spark plug logos from the ‘20s and ‘50s, Beaucage paints from the experiential view of today’s music festivals, such as Coachella, Burning Man and the Electric Daisy Carnival. One half expects Beaucage’s subjects to whip out their iPhones and furiously text one another or snapchat selfies when the gallery goes dark."
Review Chill Bivouac Rhymes, LA Times, July 2015.
Sharon Mizota review in Los Angeles Times: "Edith Beaucage's work has always been bold, but in her latest exhibition at CB1 Gallery, it achieves a new level of confidence and bravura... Beaucage's sun-drenched, acid-hued palette and the assurance with which she renders loose portraits — in broad, fluid strokes as relaxed as her subjects. The lush, Arcadian surroundings get the same treatment. Trees are little more than wavering verticals: a kelp forest in a rainbow of shades. Mountains, lakes and sky are rendered breezily in lemon yellows and cobalt blues, appearing to glow with energy".
Review Chill Bivouac Rhymes, Huffington Post
John Seed review of Chill Bivouac Rhymes in Huffington Post, July 2015: "Beaucage's canvases, even the large ones, have almost no evidence of editing, scraping or revision. They are what they are: unadulterated marzipan pleasures that unfold in a looseleaf Eden...To prepare for Chill Bivouac Rhymes Beaucage made a maquette of the gallery space — complete with tiny paintings and models — and also generated a sequence of studies on paper. In the back room of CB1 Edith showed me a selection of these works, which have the bold immediacy of unfiltered ideas. They “rhyme” with each other in the sense that they present clusters of themes within a consistent range of feeling, as do the larger works on view."
Review Chill Bivouac Rhymes, Artillery Magazine
John David O'Brien review of Chill Bivouac Rhymes in Artillery Magazine (Print and Online), September 2015: "The figures dance about in light delineation embedded in a swirl of audacious swathes of color field painting. “Chill Bivouac Rhymes” is also the lively storyboard for the scenes from an operatic love story. She, Ekaterina, is the exotic young Bolshoi ballerina who, in the course of this tale, jilts her Russian lover after finding an entirely new and irresistible illumination while at a forest rave, and then runs off with her surfer guy until they both disappear into an explosion of light. To accomplish all this, the gallery is turned into a stage set". Artillery Magazine
Review "Chill Bivouac Rhymes", Beautiful Decay
Tamara Akcay in Beautiful Decay, 2015, "The ‘Chill Bivouac Rhymes’ series is built as a loose leaf narrative. A ballerina, her entourage, her Russian lover, a rave and a specific, yet invented location: Yellow Boa Canyon.
The paintings depict the characters interacting with each other in the fantasy land created by the artist. Edith Beaucage’s strokes are ‘broad, fluid and relaxed’. Translating a world of floating moments and effortless motions. The characters are blended with the landscape. The same tonality of colors and the same brushstrokes are used for each of them. The artist captures a couple kissing, a girl dancing, a men smoking and a teenager sleeping. Never omitting to add-on the wandering, lingering rhythm which ends up altering the mood and spirit of the viewer."
Features Article, Preview, ArtWeek LA
Features, Preview June 2015, "The viewer will discover the paintings by looking through sculptures and painting installation. Twelve feet tall multicolor trees, an octagon geometric shape and freestanding painted campers are installed on the gallery floor to produce a deep focus space. The inclusion of the three levels of foreground, middle ground and extreme background objects create for the viewer a effect similar to a depth of field composition in cinematography; allowing the viewer to focus on both close and distant planes.
In addition to paintings, Beaucage has created enamel on iron pieces that where fired at 1450° F; fusing glass to metal. Influenced by Limoges enamelings from the mid 1600s, her ravers are incapsulated in a deep glossy tranced out spaces."
Review Bidibidiba, Whitehot Magazine
Shana Nys Dambrot review of Bidibidiba in Whitehot Magazine, January 2013:"“What I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again.” Roland Barthes wrote that in Le Plaisir Du Texte, in which he argues for a critical approach to text that explicitly includes taking pleasure as a facet of serious analysis. Language is important to Beaucage, but like Barthes, this can be more for its cadence than its content -- she’s more Jabberwocky than Ozymandias. And while she may be a painter rather than a writer, when it comes to how she constructs the “text” of her compositions, that bit about the pleasure of inflicting harm on a narrative by skipping around within it all willy-nilly, taking it gleefully out of order -- going about it all wrong so to speak -- is very much analogous to how she composes and treats her own he fine surfaces -- those of her canvases. She too does it all wrong, and she does it with zest -- and it’s an absolute pleasure." White Hot Magazine.
.hurluberlu Q and A, John Seed
John Seed/Edith Beaucage: Q and A on .hurluberlu 2011
"JS: Can you tell me what a "hurluberlu" is?
EB: A hurluberlu is a type of person that is referred to in Quebec as a fellow that is a little crazy; sweet and original in his way of thinking, and in how he dresses himself and behaves.
In each of my paintings you will find a hurluberlu juxtaposed with an abstraction that mimics what happens in a social space. The social space is therefore the unifying factor and is meant to stimulate discourse with the audience, to include the viewer. The meaning that derives from this interaction is voluntarily open.
By conceiving each image in relation to a "hurluberlu" I was able to push the abstractions each one inspired into a new aesthetic territory. The painting's titles are followed by .hur because I refer to the group as part of the domain of the hurlerburlu as opposed to internet domains such as .com or .net."
2016 Los Angeles Times Datebook, Carolina A. Miranda, Sequencer-Spectrum-Reverb
2016 Artillery Magazine Vote for Saturday Night, Beverly Western, Sequencer-Spectrum-Reverb
2016 WaterWorld, Waterwheel, Camila Bohemio
2016 Michele Witchipoo,Witchesbrewpress,Volta Art Fair
2016 POVarts Lookbook, Volta Ar Fair
2016 Volta New York,Catalog,p.61 Volta Art Fair
2016 Los Angeles Review of Books, Featured Artist, March Edition
2015 Joanne Mattera Art Blog, Fair Fetched: Some Paintings, Miami Fairs
2015 Room Magazine, Miami Artweek 2015 Highlights, Heike Dempster
2015 Terremoto, Art Basel Miami Beach Art week 2015, Dorothee Dupuis.
2015 Art Observed Untitled Art Fair, Luis De Jesus Gallery
2015 Beautiful Decay Magazine Featured by Made with Colors
2015 Pattern Pulp Chill Bivouac Rhymes gallery pick.
2015 Artweek LA Chill Bivouac Rhymes.
2015 Annie Buckley Artforum review of LA Heat.
2014 Carren Jao KCET Artbound review of LA Heat.
2012 John Seed Huffington Post .hurluberlu Interview.
2012 Split Realities Art Slant group show Nan Ray Gallery,Woodbury Univerity.
2012 Must see show New American Painting Bidibidiba.
2012 Bill Bush Huffington Post This week in LA: Bidibidiba.
2012 Downtown Art KCET checklist:Bidibidiba.
2012 TOAN Magazine, Bidibidiba.
2012 Kyle Fitzpatrick LA I AM YOURS Bidibidiba.
2011 Shana Nye Dambrot LA Weekly .hurluberlu Preview.