Using an elaborate algorithmic process of hand-casting stone, glass, resin and other materials, Kilcollin creates sculptural works that sometimes are freestanding, often wall mounted, typically emanate a sense of weight, history and memory. They are archeological digs in reverse, placing layer upon layer to construct
LAUNCH LA, Los Angeles (NOVEMBER 14—DECEMBER 5, 2015) With their reconfigured pudding-like puddles of blossoming color interlaced with psychedelic delectability, Marion Lane’s paintings are a sort of contemporary hybrid of the poured creations of Lynda Benglis and dazzling op-art innuendos – all accompanied by mysterious echoes of
MACHINE PROJECT, LOS ANGELES (OCTOBER 2—DECEMBER 14, 2015) Machine Project always sets the bar high for ambiguous, whimsical programming, but Patrick Michael Ballard’s Return to Foreverhouse was one of its more intensely immersive installations. For one hour, the viewer and five close friends (or curious strangers) were
In mutating various methodologies of painting’s past, Bradley utilizes Photoshop to order the information. This allows his work to investigate the languages of painting distanced from the original source and with a dispassionate eye. Of course, during the actual painting, some intuitive elements return, but
Center for the Art of Performance at UCLA (October 16-17, 2015) Nothing could be more opposite than Umusuna—Memories Before History, the latest work by the acclaimed Japanese Butoh company Sankai Juku, founded by Ushio Amagatsu in 1975. This is a cosmic work of visual theater that encompasses
