Adele Renault‘s studio is an outdated transformed Korean church in Los Angeles. It is a big, fascinating outdated constructing simply down the street from among the greatest gallery names on the earth like Zwirner, however right here, there’s a quiet hum of the ten freeway and a large portray space that would nearly be an outdated cinema by way of scale. Right here, the Belgian-born artist is much 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 serious second for the artist as she is ready to open her solo present, Issues I Cannot Unsee, at Good Mom Gallery.
It is the proper title to a present, and particularly, to the apply she has of documenting her travels through bicycle, operating or in a automotive throughout LA. Remodeled the span of 12 months, by a tumultuous time in LA’s historical past, the works are an ode to 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 course, 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.
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The Unibrow’s Radio Juxtapoz podcast is hosted by Juxtapoz editor, Evan Pricco. Episode 162 was recorded in Los Angeles in late April 2025.
