ALICIA LACHANCE
I grew up as the child of antique hunters. Specifically, we looked for Americana that we would restore as a family. It was later collected, primarily, by people from the war-torn countries of WWII. These objects were conductive, almost totem-like, and held an ideal of hope and possibility that collectors had gleaned by watching American movies and listening to the music of that era.
I learned to value objects through color, weight, material, entropy and, most importantly, history. The ideas I try to capture relate to visual language, symbol forms, color codes, and the emotional response to materiality. The paintings strive to hold a similar spirit of possibility. I hope they operate like an equation that, on some level, acknowledges the present and ameliorates our modernity.
My current pursuit of printmaking, is just as much of a fever to harness material, color, and process. I hope to mark the timeline with works that reflect where we are now and hold their own conductive properties.
I am a self-taught painter and mother of three. My work has been acknowledged by collectors, galleries, and museum curators with inclusion in exhibitions at the Elmhurst Art Museum and The Saint Louis Museum of Art. Selected by museum curators to represent what is happening in the midwest --The publication, New American Paintings, included my work on three occaisions.
Recent commissions include but not limited to:
Google Headquarters NYC; Marina Bay Sands, Singapore and The Londoner Macau. These projects were lead by David Beckham’s design team. Commissioned by the Glazer family (owners of the Tampa Bay Buccaneers and Manchester United) to create a complete body of work for their hotel, The Vinoy. Work has also been placed at The Vandenberg Spaceforce Base, base for Nasa and SpaceX; The Mayo Clinic, among many other collectors worldwide.
