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Alisa Henriquez was born in Kingston, Jamaica and raised in Vancouver, Canada where she first studied at Emily Carr College of Art and Design. She went on to earn a BFA from Rhode Island School of Design and a MFA in Painting from Indiana University. She also attended the Yale Summer School of Music and Art with the support of the Ellen Battel Stoekel Fellowship.
Her work has been featured in many national and international exhibitions including; Flattened, Evanston Art Center, Evanston, IL, Alisa Henriquez: Paintings, District Arts Gallery, Birmingham MI, Social Patterns, Northeastern Illinois University, Chicago, IL, Consuming Image: New Painterly Pop, Jacksonville Museum of Modern Art, Jacksonville, FL, Inaugural Exhibition, Arena Gallery, Chicago, IL, Annex Abstraction Show, Buschelen Mowatt Gallery, Vancouver, BC, Alisa Henriquez: Encoded Patterns, ARC Gallery, Chicago, IL, and What Remains, Rochester Institute of Technology, Rochester, NY.
Her work has also been curated into other group exhibitions including: Collage and Assemblage, Manifest Gallery, Cincinnati, OH, Obsession, Gallery Project, Ann Arbor, MI, 86.28 Miles, Detroit Industrial Projects, Detroit, MI, Open Ended, Moreau Galleries, Saint Mary’s College, Notre Dame, IN, Collage/Assemblage/Montage, Pennsylvania School of Art and Design, Lancaster, PA, The October International Competition, Armory Art Center, West Palm Beach, FL, 2ft. x 2ft. Show, Buschlen Mowatt Gallery, Vancouver, BC, Poly Grams, Indiana University-Purdue University Fort Wayne, Fort Wayne, IN, 62nd Annual Midyear Exhibition, Butler Institute of American, Youngstown, OH, Lancaster, PA, Chicago Artists, Gallery 312, Chicago, IL and the Contemporary Art Workshop, Chicago, IL.
Her work has been reviewed in publications, such as New Art Examiner, and selected for inclusion in New American Paintings, The Drawing Center Viewing Program and Guidebook, Contemporary Collage.
My work aims to directly engage prevalent images of consumption drawn from our popular media culture, especially as they relate to gender, beauty, and material desire. Sources for these paintings include magazines such as, “House Beautiful”, “Better Homes and Gardens”, “Vogue”, “Cosmopolitan”, and “Glamour” to name a few. In assembling fragments from these sources into complex compositions and ultimately reconfiguring these images, I hope to stage an experience that calls into question the messages these media images perpetuate including the seemingly insatiable appetite for all to be happier, save more money, be more beautiful, appear more fashionable, and live in a more splendidly appointed environment.
Utilizing an array of samples, fragments, and graphic sensibility from these magazines, the resulting compositions are overloaded, complex, and not easily navigated. In this way my work aims to build a dense spatial network that offers a bounty of images for consumption.
Conceptually, the paintings aspire towards a similar density as the compositions do, locating themselves somewhere between the critique and the embrace, the humorous and the ponderous, and the colloquial and the formal. In using such a layered approach, I hope to create works that move at an oblique angle to the overly simplistic identity constructions that are found in many media images that I source. Like much work of our time, I aim to offer an intellectually reflective space by utilizing the very language of our visual and media dominated age.