Curated Artist Registry

The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.

ALL ARTISTS ALPHABETICALLY: a → d e → h i → l m → p q → t u → x y → z


Los Angeles CA US
Updated: 2017-05-03 15:39:40

STATEMENT OF WORK

Lost and Found Bronzes:

 

These are lost wax castings of vintage candles, like teddy bears, pandas, little girls and hippy objects. Besides being found objects, these are evocative of the oblivion of youth, lost family days, and the dust that has gathered on dreams.

 

 

They are sad, scary, and psychotic.

 

Both a criticism and fond remembrance of a hippy past and sometime present.

 

They recall the terrifying blunder of identifiers.

 

Totems:

Heavily influenced by my teacher Reuden Kadish, these bronze totems can sometimes seem like just a mass of fossilized slag,

 

or sketch in bronze of forces all working against each other, an image of conflict and family.

 

Boney spheres represent people and the metal surface, the relationship plane. We roll about on cast bronze bumping into each other but never really getting inside of our molten centers.

 

These structures are built on suspect principles and ready to collapse, but do not...

 

The Art I Never Made is the Best-Painting collaborations:

These paintings were installed on the exterior of a building in the arts district of downtown LA. The statement "the art i never made is the best" was stenciled on a lightly textured, somewhat reflective ground that was built up over many iterations of the work. The statement was meant, along with the placement of the piece, as an invitation to collaborate. Street artists subsequently added their mark to the painting. The city of LA anti-graffiti team also contributed by painting out the piece entirely. And then the work continued.

 

The works violently destroy the preciousness of my former aesthetics.

 

I have become an art farmer: I plant the seed and reap the rewards when it has ripened.

 

Here, a gestural painting becomes a conceptual artwork, a twist of the mind makes this magic possible.




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