Once again the Durden and Ray space in DTLA plays host to the bi-monthly BLAM, combining the work of Brooklyn and LA-based artists in one well-curated exhibition. This time, the subject and title is Aperture. Light certainly shines on these artists, in an exhibition which runs through June 26th.
Curator Pete Hickok says the genesis of the show in a “larger sense takes on the idea that an aperture transfers, flips, and distorts an object from its original form to what is represented.”
Exhibiting artists include: Robert Acklen, Ariel Brice, Hannah Greely, Kio Griffith, Alissa Polan, Rachel Mica Weiss, Shirley Tse, Joe Wolek, and Lena Wolek.
Above, artist Hannah Greely and her “Seascape,” which uses cardboard, gypsum cement, wood, paper, and tempura to dissect a wave on a beach. She divides three dimensional space into two dimensional planes, creating a work that requires active participation by the viewer to fully absorb the piece.
“It’s much like the concept behind the whole show,” Greely says. “I’m trying to dissect pictorial space and see what happens with the translation, stretching the wave into three dimensions.”
Above, artist Shirley Tse with her “‘Squaring the Circle”. The piece uses a foam core with highly reflective fabric that shimmers, ripples, and takes on an entirely different character as the viewer looks at the work from a variety of angles. The effect is of motion, although the object doesn’t move, of shifting light, although the light doesn’t change. “‘Squaring the Circle ’ was an ancient science riddle in medieval times,” Tse explains. “Scientists tried to figure out how to transform a circle into a square, but it couldn’t be done.” Instead of an exact translation, they came up with the mathematical symbol of pi, an approximate number. Here, Tse deals with the notion that people consistently desire to “equate something, to solve something. In reality, many entities are so unique you can’t translate them. I love the idea of diversity, of idiosyncracy.”
Above, curator Pete Hickok. “The criteria I had for artists in this show was the idea of transformations of mediums, images, and objects and how they worked together. What interested me was approaching subjects in different mediums such as photography, sculpture, and paintings. The show is about process.”
Above, artist Lena Wolek with her beautifully evocative “Zima” and “Vesna,” two of three works the versatile artist exhibits here. Below, her plastic-bag pillows, “Four Moons: Calisto, Thebe, Ananke, Lysithea.” Each of these works use ink on Canon photo paper.
Wolek says “I used the backside of the photo paper, rather than the photo surface. Working with black India ink, I drew and painted multiple layers, removing and adding ink like in photographic process. I thought about the importance of timing, of light, of water, and I used those elements in creating these pieces. I would draw black on black, then wash the ink, adding another layer.”
The works are seasonal images. “It goes to my Siberian background, the black and dark winters, the white snow, the monochrome. In the winter it’s a state of hibernation, during which you anticipate the explosion of colors. These are images about rest.,” she says. Wolek, used to a quieter environment gets little rest here. “The sound of the city is never quiet. These pieces are also about insomnia.”
Above, Rachel Mica Weiss’ “Mirrored Threshold” uses reclaimed old growth Douglas Fir in a piece that has the quality of a fairy tale mirror. Who or what is fairest here?
Above, Kio Griffith’s “The Confederate General of Big Sur,” a translucent, multi-layered piece that includes Poloroids and panaramic photos, clear tape, and a polyurethane envelope.
Below, Alissa Polan’s postcard collage, “We’ve been around for over two decades. Red Chair and the Grand Canyon).” The poetic piece is a visual dichotomy.
Below, Joe Wolek’s captivating “Birdie” employs video footage, a video player/monitor, and a mirror to invite viewers through the looking glass and into the sky at a kind of secret life of birds. Observation takes flight.
And speaking of observation, below, another look at Greely’s sculptural dissection of a wave.
The gallery is located at 1950 S. Santa Fe Ave. #207, Los Angeles, CA 90021. Hours are 12-4 Saturday and Sunday, or by appointment.
- Genie Davis; all photos by Jack Burke
