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Ad Minoliti
Cherry and Martin, Culver City, California
by Emily Nimptsch


Ad Minoliti, installation view of “G.S.F.C. 2.0,” 2017.

 

Upon entering Ad Minoliti’s “G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg)" your eyes may need time to adjust to this effervescent soliloquy in youthful pastel hues and uninhibited curvaceous forms. This Buenos Aires-based painter’s Los Angeles debut shows her to be a wildly imaginative artist. Featuring large-scale wall murals, conceptual sculptures, as well as “cyborg paintings” made through a mixture of man and machine, this varied collection of new works delves into a wide range of engrossing topics, from geometry to sexual identity. In order to create the “cyborg paintings” she first stencils and then airbrushes the canvas to create an airy, cotton candy-like background. The artist then adds anthropomorphized figures and photographs to the arrangement before screen printing and finally painting the canvas. 

 

On exploring bodily movements and gender norms in this series, Minoliti explains, “I want to make a statement in the need to retake the fantasy land into different perspectives out of the male gaze … I’m also interested in the dissolution of technical and conceptual borders, especially within the heteronormative context of western culture’s tendency to divide the entire world into two categories ...” Without pretension, Minoliti creates a goofy, lively world where her female subjects feel entirely safe to be sexual. We can see this clearly in the two disembodied female legs painted as if emerging from a corner. This suggestiveness is perfectly coupled with  Minoliti’s childlike aesthetic. We see wandering eyeballs reminiscent of what children often draw. We can also spot juvenile, hungry triangles and cheerful circles. Her humor here is in fine form, as with a realistic-looking chicken perched on top of a cartoonish egg in a wall mural. "G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg)" is not the first time Minoliti has explored childhood themes. In previous collections, she has included paintings of dollhouses and stuffed animals mixed with images from fashion and pornography. Building on this, Minoliti creates something unexpected and subversive.

Cherry and Martin

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