Media Reviews and Appearances

 

Plastic forms, light emitting diodes, wires and cold cathode florescence lights — Houston artist Adela Andea weaves electronic components into vivid flurries of light and color. Her biomorphic installations and wall sculptures are part disco, part otherworldly architecture that delight and charm.

Ice Lumens, an enormous installation of magnifying plastic and blue light towered over me as other works in Adela Andea‘s Lux, Lumens, and Candelas produced alternating lights and soft sounds in my peripheral vision. The contrast between the dark gallery and the intricate, brightly illuminated works made Andea’s installation tense and abrasive. One piece has a rotating handle; about every 15 seconds it would fall and make a soft noise, like a very slow but consistent heartbeat. It startled me when it first occurred, but it quickly became like clockwork, punctuating the subtle, constant noise of the many fans.

Houston-based artist Adela Andea stood in the center of the gallery with an eager audience amassed in front of her. From the ceiling behind her hung an expanse of plastic magnifying lenses and blue and green lights that were strategically and creatively constructed to create her latest art installation, “Lux, Lumens and Candelas.” “[This installation] is a new work,” Andea said at the opening. “I haven’t shown this anywhere else. I decided to take some new risks and move on to a new direction with this magnifying plastic.”.

Like the feedback loops that make machines and biological species move, Andea’s electric objects are systems. The movement of light and water in certain pieces mimics the circle of energies roving through both engine and nervous system alike. Navcaq has water bubbling in a plastic box at the center. It quietly gurgles like a fish tank filtering its system. Cold cathode fluorescent lights in red, yellow, and blue shoot out from its core, giving it an underwater otherness.

Incorporating a variety of lights and using the latest technology to push forward the Light Movement, Romanian-born, Houston-based installation artist Adela Andea captivated the attention of thousands of VIP Collectors who came last night to see the Preview Opening of the 17th edition of ArtPalmBeach at the Palm Beach Convention Center.

Upon entering the gallery, it’s impossible not to notice Adela Andea. Standing 96 inches tall and glowing fiercely, Andea - or rather, the Conroe artist’s sculptural representation of herself - commands your attention with cold cathode fluorescent lights and the quiet whir of LED computer fans. You could stare into her for hours, losing yourself in the lights and connections and subtle movements. I suggest you do.

Within the fair, sculpture will be a particular emphasis. That’s proclaimed at the entrance to the fair, where visitors will walk through a site-specific light sculpture by Romanian-born artist Adela Andea. The artist works with LED lights, flex neon, computer parts and even sliced pool noodles to create “immersive environments,” said gallery owner Anya Tish. “When you walk in you feel like you’re in a high-tech fairy tale.”

We like these amazing light installations by Adela Andea at the Texas Biennial, that seem to really create an all-encompassing art experience for any viewer. What a flurry of color, patterns and textures…Beautiful!.

Adela Andea’s light installations and sculptures seem otherworldly. They almost feel organic, reminiscent of vivid underwater scenes, but the lights, wires and other tech that make them seem more like alien landscapes. The Romanian-born, Texas-based artist seeks to explore the line between actuality and virtual reality. Weaving LED and CCL lights with pulsing electrical components Andea creates installations that transport a viewer to a place where art becomes experience, and that experience is all encompassing. Andea likes to think of her work as incorporating many layers of truth. She embraces the possibility that there isn’t one reality, and her work strives to capture that notion visually. With the fast and overwhelming advancement of technology, Andea’s installations represent the dialogue between people and new technologies. The desire for a viewer to have a personal experience with her work, but to also think about the way that information can be manipulated to form one’s notion of reality is the driving force behind her complex installations.

Romanian-born Adela Andea's light-based sculptures and installations have an Eastern European disco vibe--in a good way. There are no trafficked prostitutes and track-suited Mafiosi, but Andea's luminous constructions recall the luridly unnatural lighting of a nightclub. Andea uses everything from cold cathode florescent lights to LED's to create sculptures that accumulate her light sources into clusters, towers and wall-spanning installations. In recent work, Andea is combining materials like foam pool noodles with her lights to create otherworldly-looking constructions. Last year, her sculptures invaded the courtyard of the Art League Houston, hanging from the trees. Andea sliced vividly hued pool noodles into discs to create cell-like shapes and massed them together to conjure unsettling yet oddly beautiful biomorphic forms. Sections of flex neon trailed off and snaked between them like umbilical cords. Sitting in the courtyard at night, it was as if a cluster of alien life forms had descended from the skies, leaving locals too stunned by the spectacle to resist the invasion.

The Texas 13 Biennial includes Adela Andea's "Primordial Garden," an installation of flex neon, cold cathode fluorescent lights, LEDs, various plastics and other components.

Houston artist Adela Andea's light installations and sculptures are true crowd-pleasers, captivating artists at galleries, art fairs and, last winter, Art League Houston's outdoor garden-turned-bio-electronic environment, "Primordial Garden." The Romania-born artist returns to the Montrose art space — this time indoors — for the site-specific installation "Cocomirle." Andea's work has been described in the past by this paper as akin to an "Eastern European disco — in a good way." As if taking that dynamic to its logical conclusion, in her latest light show, Andea brings music to the disco, too, thanks to a collaboration with experimental sound group CHIN XAOU TI WON. In "Cocomirle," at least six electronic keyboards are suspended in the air in Art League's main gallery. They're joined by a web of lit rods, jumbled wires, energy-efficient lightbulbs and flashing lights that give the room an '80s dance-party vibe. While the multiple instruments aren't being used in the installation's normal state, there is music, courtesy of four screens scattered about the space.

Based in Texas and born in Romania, new media artist and light worker Adela Andea creates illuminant biomorphic eco-systems with sculptures that dazzle like neural neon networks. The lighting component of her work is arranged with an expressionist and apparent stochasticity revealing naturally occurring visceral blueprints of life. With hardware exposed, electrical sockets and circuitry dangle like tendons and veins or tech-nature anatomy, suggesting bio-emergent properties, an electric sentient presence.Adela sets the stage allowing the viewer to engage and reflect upon their own intimate relationship with both technology and nature, and the inherent dualities and commonalities that exist between the two.

It's been three years since Adela Andea's previous solo exhibition at Anya Tish, and during that time, Andea has been very active, creating dozens of her luminous installations throughout Houston and Dallas. Previous site-specific artworks have had an all-over aesthetic, with neon tubes, plastic cords, and mechanical parts cascading down in such a way as to completely engulf viewers in their tangled lines and bright glow. By contrast, "Mandragora" consists mostly of smaller-scale sculptures, each with an iconic form and distinctive presence. It's as if the gallery were the artist's laboratory and each work an experiment in the integration of robotics and an almost spiritual luminescence.

Techno-Alchemy Apparatus (works cited 2013) feels like a cyborg with green liquid pumping through its plastic tubes like radioactive blood. The components, which are typically used for computer cooling systems, have been repurposed to create a functional system that keeps the liquid moving as well as a balanced anthropomorphic design that resembles arteries and veins surrounding a beating heart. The small blue light bulbs, zip ties, and winding cords of Liquescent Nebula look like growths encrusted on a mangled and twisted white neon tube, as if following their own organic logic. Another impressive work is Hybrid Automata, wherein fans and mirrored panels surround and reflect an intense central light. It's small size, only about a foot wide, but against expectation the artist instills its sharp edges and angular movements with a captivating cinematic quality.

Miraculously, Andea has imbued common consumer-grade electronics with a life of their own, and thus, "Mandragora" has clarified for me how the artist's installations work. Previously, I had assumed that their entrancing quality came from the theatrics of their bright colors and moving parts. Now I can see that they have an alchemy beyond drama. Plastics become skin, wires capillaries, and neon nerves. Her artworks attract us with their life force, like unknown species suddenly discovered. This biomechanical feat gives Andea's works a conceptual power that rivals their visual force. By compartmentalizing various elements of her practice, Mandragora thus shows the hybridization at work in many of her own artistic forms.

For Adela Andea, Art and Life Are in Constant Flux. When dealing with light, electricity, and solid vs. Liquid, I assume it’s easiest (and probably safest) to leave little room for speculation. The lamp is either on or off; the cord is plugged in or its not; the lake is suitable for swimming in, not skating on. But easy and safe aren’t what Houston artist Adela Andea, who cites the physical strenuousness and expansive scale of installation art as part of the medium’s appeal, is going for. She’d rather harness the brilliance of new-media technologies to explore the nebulous middle ground between two states of being: light and dark, natural and the manmade, organic and inorganic, science and nature, fluid and solid, static and dynamic, perpetual and ephemeral. Andea’s latest ambitious installation is Mandrágora: Liquescent Light, her second solo exhibitionat Anya Tish Gallery. It marries her interest in liquescence – the tendency of a solid or gas to melt or become liquid – with ideas about the production and emission of both natural and manmade light, all while emphasizing current technologies, industrial design, and consumer culture.

Adela Andea's light installations look like what might happen if a tornado whipped through a massive LED sign but couldn't quite blow all its elements apart or cut off the power. Deconstructing the line between the real and the virtual, they transform spaces into pulsating, luminous environments. Andea, a Romanian native who lives in Houston, also creates intricately woven, wall-dependent kinetic sculptures with circuits of lights, LED fans, computer hardware and fiber optics.

Art League Houston presents their outdoor garden which has been transformed into a fantasy land by Houston based artist Adela Andea. This outdoor art installation transforms the Art League Houston Sculpture Garden into a sprawling metropolis of manufactured Cold Cathode Fluorescent Lights, flex neon, computer hardware & plastics that weave throughout the surrounding trees, creating a prismatic landscape. Artist Adela Andea works in the medium of light and the Primordial Garden is a perfect example of Andea’s creative abilities and her mastery in lighting design. The aims of Primordial Gardens is to show almost a blueprint of how electronics and other man-made objects can be spliced into natural environments, creating an otherworldly environment, industrial yet natural.

A garden of lights and colorful shapes has grown up at the Art League Houston space. In H. G. Wells'book "War of the Worlds," the alien invaders try to reverse-terraforming the earth to make it more hospital for their life. Romanian born, with a Texas size personality, Adela Andea is no alien from another planet, but she has propagated an imaginative outdoor installation that could easily come from another world. Best seen at night, the cold cathode fluorescent light and flex neon give glow to the plastic objects. The show is masterfully titled, “Primordial Garden.” Adela Andea’s installation looks as if she has cultivated mistletoe and lichen like objects and then electrified them with lights. Andea’s art objects act as an invasive species from the star system, Andea. You can imagine these works feeding off the local flora, but in reality their food is just from the electric grid. Back in January, she used the University of North Texas; Cora Stafford Gallery as a nursery of ideas for this current show. The installation was up for only four days, but made for a memorable MFA exhibition. The lights flowed across the ceilings, floors, and walls. The alien plant like material stretched on one wall. Although this material was bright with colors, the flex neon seems to push this part of the installation into the dark.

  • June Mattingly, "The State of the Art: Contemporary Artists in Texas", Amazon Kindle Edition, 22 May 2012 (Scanned Copy)

Adela’s exuberant, fluorescent light sculptures simply radiate. Powered exclusively by manmade electronics, they submerge a whole wall or room into a, mystifying and magical landscape. The “futuristic eco-systems” of intricately-woven circuits of LED/CFL lights, computer hardware, manufactured building materials, consumer electronics and mass produced objects embody both a physical presence, as well as an ethereal sensibility. Light alone transports a viewer into an uplifting reality; the glow encompasses them with an electrifying presence. The hardware sections, a medium unto themselves, provide support and hold the strips together and are an integral element in the digitally-conceived constructions.

  • Hannah Sampson, "Boats, Art, Money ! Season is here", Miami Herald, 17 February 2012 (front page detail)

Westwood also boasted this nifty light piece by Adela Andea.

Andea has said that she strives to create “futuristic eco-systems….that ebb and flow between organic biological forms and glowing technological systems”. Her oeuvre varies widely, but the work that resonates with me is irresistably dynamic. My favorite pieces have a palpable exuberance that is a welcome respite from much of the technologically vanguard artwork I see that tends to highlight the dystopian.

  • "Houston Fine Art Fair Announces Spectacular Special Exhibitions and Events", Houston Art Fair, September 2011 (cached copy HTML MHT PDF)

ARTIST PROJECTS
Romanian-born, Texas-based artist Adela Andea, presented by Anya Tish Gallery, creates complex light sculptures and installations that explore the fine line between reality and virtual reality. Swarms of LED and CCL lights along with pulsing electrical components are intricately weaved together, forming technological landscapes that hypnotize and engulf the viewer, reflecting sociopolitical themes of over-globalization.

Adela Andea received first place, which was no surprise to me. I have seen Andea's work at Cris Worley Fine Art, here in Dallas and at the Anya Tish Gallery in Houston. Each experience was like seeing a light show, with seemingly random elements thrown at you visually. Sometimes electric fans were added to give the piece a little more movement. Andea is sometimes a kinetic, always tech, and a truly 21st century artist.

  • June Mattingly, "Starry, Starry Nights: Five Light-Filled Installations", Texas Contemporary Art, June 2011 (cached copy HTML MHT PDF)

When I first viewed photographs of Adela Andea's work, I was sceptical that her art was just bells and whistles. But then I saw the work at Cris Worley gallery and I was taken back by the movement. The lights are places like brush strokes of an expressionist artists. There is a nice organized randomness to the work that has many contradictions. You can follow the wires and watch to slow pulsating fans all day.

When I first viewed photographs of Adela Andea's work, I was sceptical that her art was just bells and whistles. But then I saw the work at Cris Worley gallery and I was taken back by the movement. The lights are places like brush strokes of an expressionist artists. There is a nice organized randomness to the work that has many contradictions. You can follow the wires and watch to slow pulsating fans all day.

  • "The Rare Earths FLUORESCENTBALL", Museum of Arts and Design, NY, May 2011 (cached copy HTML MHT PDF)

  • "2011 Annual Gala & Art Auction", Contemporary Arts Museum Houston, April 2011 (cached copy HTML MHT PDF)

In 2009, Adela Andea lit up the Houston art scene with her fluorescent-light-filled installation at Lawndale Art Center, The Green™ CyberWeb. Her new show at Anya Tish Gallery promises to be equally radiant. Pool noodles, cable sleeves, aquarium tubing and fluorescent lighting are some of Andea's favorite things and in Bioluminescence she's transforming her wholly manmade materials into sculptures that feel organic – in an eerie and alien way. A sneak peek before the show's opening reveals the only drawback is that the gallery has nixed any sprawling installations in favor of more contained and salable works. A glowing accumulation in the back alcove, tiled with pool noodle slices that read like cells, is constrained into a rectilinear wall piece. It's pretty great anyway but seeing it grow over the walls would be even better. Andea is one of Houston's most interesting emerging artists and the show is a must see. And if you're pining for another over-the-top installation, word is she's got an upcoming – and unfettered – solo show at the Art League.

As these visuals confirm, Adela's skill creating light-filled three-dimensional sculptures of neon strips that submerge the attention-spanning surrounding spaces into truly beautiful hypnotic sensory experiences. With light alone she transcends the viewer into a computer-created uplifting and totally unreal sphere. The hardware sections, "a medium to themselves" to support and hold the strips together are an integral element in the complicated digitally conceived constructions while the glow in the physical space surrounding the whole wall and the viewer increases the electrifying presence of the art piece.

The year begins with an emphasis on light, brought forth literally and figuratively by four Texas artists. First up, at Anya Tish Gallery, Adela Andea dazzles with light displays that take the legacy of Flavin's eloquent minimalism and propel it into today. Andea's free-form, exuberant sculptures with jutting bolts of lights and organic explosion of electrical parts and whirring fans make you want to celebrate. Her exhibition "Bioluminescence" also concocts a wild installation that recalls a cyber, underwater fairy tale.

In a past review for the Press I described Romanian artist Adela Andea's Lawndale Art Center installation, filled with glowing rods of cold cathode fluorescent light, as "reminiscent of an Eastern European disco -- in a good way." There's more over-the-top light-fueled work in her upcoming show at Anya Tish Gallery - this time she's creating "futuristic eco-systems."

Texas art might be bluebonnets. But it's also green, red and blue neon lights joyfully splayed in directions hither and thither as they form a spider-web network of sorts, while computer fans, caught in the glowing web, whir and buzz, whir and buzz, whir and buzz...Some of the eye-wowing works are installations, such as the web of computer fans and neon stick lights, actually cold cathode lights. It glows in one dark corner of the museum and is by Conroe, Texas, artist Adela Andea.

  • "Connection Calendar", Austin City Connection, March 2010 (cached copy HTML MHT PDF)

This corporate-dominated office was ready to be reclaimed by two artists, Lana Chu and Adela Andea where they stripped the traditional office space and anchored the space with new interpretations of office materials. Installations include layers of sculptural computer components, eye catching multicolored LED lights, whimsical plastic water bottles where no discarded office supplies are left behind!

"Adela Andea: The Green™ cyber web" Adela Andea's work in Lawndale's Project Space is one of the best installations the space has seen. The Romanian-born artist has created an environment that feels both techno and surreal, with a dash of Kafka. It's reminiscent of an Eastern European disco — in a good way. Andea crafted giant spiders and shell- or cocoon-like shapes in white hydrocal, lit from within by a harsh reddish-orange light. The jointed, motorized spider legs move slowly and ominously. Short, slender, glowing rods of cold cathode fluorescent light in green and blue hang all over the room, with wires forming a tangled kind of web. The lights alter the colors in the room, turning it from, say, orange into the color of past-the-date beef. Small, square LED case fans (used to cool computers) are suspended in the space, spinning and humming, shaking slightly with their effort. It's an incredibly strange and highly original environment, and the seemingly disparate elements work together to create something otherworldly.