calendario eventi  :: 

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19/11/2004

Two events

Kontainer Gallery, Los Angeles

Minimal as maximal

An object can be fluid even as it remains still; a single line can stand clearly delineated in space and time, and yet it shifts, sometimes imperceptivity, other times with more force. Kontainer Gallery is pleased to present new works by five artists whose negotiations of the minimal maximize the distance of literal space and time.

Tom Chamberlain's seemingly minimal aesthetic is both simultaneously cool and alluring like a faithless woman dressed all in white. That which is perceived is subject to change, and indeed the artist would have it no other way. Working with muted colors, mostly reds, whites and blacks, Chamberlain creates dense multi layered paintings where movement within the paint is the result of viscosity in combination with superb technique. Robin Dixon quantifies space through what is missing. Dixon's images break open slowly whereby the element of movement within a precise, architectural space is discerned with subtle accuracy. Time and place seem divided into tight units of controlled space; gaps appear, a mélange of computer terminals clutter the floor in a nameless environment. Similiarly, Tom Ellis creates divisions within perception, reversals, and idiosyncratic juxtapositions between objects. Working with what appear to be small models of space, Ellis constructs his own oddly dystopic reality, a mirroring of what is with what should be. Steve Hough's work literally confounds our perceptions with his large luminescent works made from car paint. His work undulates and shifts its color and shape with movement. Much the way water countermands itself with itself, the effect of Hough's paintings depends on the marriage of balance and color. Hadley Holliday's paintings comprise a series of investigative journeys into color as landscape, and the boundaries therein. Holliday's images are mappings of borders, and visceral terrains, an investigation into the implied empty spaces between two very separate landmasses of color and shape. Yet, despite their separateness, they achieve an oddly disjunctive unity through the use of both perspective and color.

Flag Painting

Working within the format of the video screen Paul Emmanuel uses paint in its simplest form. His compulsive real-time animation of paint on camera puts modernist ideals of paint in a context of attention disorders. Using time, sound and volume the paintings are displacements of paint from tubes, pots or tubs bought from art stores: The action of formalized methods and techniques of painting play with place and context to re-think accepted norms and structures of cultural transmission and reception. Paul Emmanuel has shown recently at Laurent Delaye, London, in Physical Evidence at Kettle's Yard, Cambridge and Psycho at MOCA, Geffen Contemporary, Los Angeles

Image: Robin Dixon

Kontainer Gallery
6130 Wilshire Blvd.
LA, CA

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