Adele Renault‘s studio is an outdated transformed Korean church in Los Angeles. It is a big, fascinating outdated constructing simply down the highway from among the largest gallery names on the earth like Zwirner, however right here, there’s a quiet hum of the ten freeway and a large portray space that might virtually be an outdated cinema by way of scale. Right here, the Belgian-born artist is way from the agricultural countryside she grew up in and now within the thick of the concrete landmass that’s the sprawl of LA. And right here, in these circumstances, she is making work so exact and photorealistic, so hermetic, that she is nearly leaning into one thing summary. They’re gorgeous and a significant second for the artist as she is ready to open her solo present, Issues I Cannot Unsee, at Good Mother Gallery.
It is the right title to a present, and particularly, to the follow she has of documenting her travels by way of bicycle, operating or in a automobile throughout LA. Revamped the span of 12 months, by way of a tumultuous time in LA’s historical past, the works are an ode to the town and the fixed dialog between nature and cement.
On this dialog on the Radio Juxtapoz podcast, presenting by The Unibrow, Renault talks to Evan Pricco about her rising from graffiti and road work into this new path, from pigeons to now city landscapes, how being afforded time is a present each artist wants and the way near abstraction these works can stand up shut.
Subscribe to the Radio Juxtapoz podcast on Spotify and on Apple Podcasts.
The Unibrow’s Radio Juxtapoz podcast is hosted by Juxtapoz editor, Evan Pricco. Episode 162 was recorded in Los Angeles in late April 2025.
