Angélique Stehli

"Red is the Warmest Color"

Inspired by the record "Joe R. Lewis - Change reaction EP"
Target Records (17) – TG003, Madness Music – MM003
June 1, 1988
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Screen printing on NOVATECH Gloss paper, 350grs
50 x 50 cm
Limited edition of 30 copies - signed and numbered

Printer: Maxime Sabourin

120€

Reception of the item is for:

France / order + 4 days max.
E.U., Switzerland / order + 6 days max.
International, U.S.A., Asia, Australia/ order + 8 days max.

Shipping prices :

Paris: Free if meeting at the studio (email us)
France: 12€
E.U. Switzerland: 15€
International, U.S.A., Asia, Australia: 35€

(Insurance of the poster value always included)

Visual artist

Angélique Stehli, born in 1993, is a Franco-Swiss photographer and videographer with a degree in Ecal (Ecole Cantonale d’Art de Lausanne). Her work, inspired by his childhood in California, focuses on portraits, architecture and fashion. The color, the sensuality and the archiving of his daily life are important elements of his work.

She was published in Harper’s Bazaar Japan, The World, Fine Arts Magazine. In 2018 the photographer is one of the winners of the Grand Prix Vevey Images and she is also exhibited at the Festival Circulation (s) in Paris. Angélique recently received an award in Los Angeles for her first short film.

Record producer 

This hybrid release gives a good glimpse of the crossover you could face in the Chicago Club scene, between Chicago House and European synthetic legacy (with some industrial sound-scapes and a touch of italo disco). You can also hear the influence of Larry Heard / Mr. Fingers on that one. 

With only two releases in the late 1980s on Target Records, Joe R. Lewis is one of those few artists from the Chicago scene who got more notorious at the beginning of online digging platforms such as Discogs or eBay in the late 1990’s, early 2000’s. However, those platforms also brought some lights on legitimate questions about the authenticity of Lewis work. Several artists commented under different Lewis’s records references on Discogs (including Jaime Read), claiming Lewis used tracks he didn’t created on numerous releases.