CLAIRE OSWALT: Trustfall

Claire Oswalt: Trustfall
March 15 – April 15, 2008

Opening Reception: Saturday, March 15, 6-9pm

Taylor De Cordoba is pleased to present Trustfall, a new series of sculptural drawings by Los Angeles-based artist Claire Oswalt. The exhibition will run from March 15 through April 19, 2008. The gallery will host an opening reception for the artist on Saturday March 15th from 6-9pm.

This is the artist’s first solo show with the gallery. With her puppets made from wood, twine, and graphite on paper, Oswalt explores an increasingly complex adult world with a childlike simplicity and curiosity. The push and pull between control and freedom is pervasive throughout her series: from a girl being blown away, to the clothes that have fallen on the floor, to a man falling out of his chair. Her puppets demonstrate a sense of restricted movement, while the title of her series suggests an unrestrained freefall, made possible only with trust. Oswalt ensures that each fall is a fall in the right direction, or to a safe place. And although they are put into a position that lacks control, the puppets put their trust in the artist and subsequently the viewer. In this sense, the puppets welcome us into their world as we explore the trials and tribulations of “falling” in love and falling through life. Though Trustfall is theatrical with its changing backdrops and Pinnochio-esque qualities, its characters instill a quiet sense of realism that prompt the viewer to ponder the simple aesthetic quality which propels these puppets into our world.

FROHAWK TWO FEATHERS: In the Court of the Crimson King

Frohawk Two Feathers: In the Court of the Crimson King

February 2 – March 8, 2008

Taylor De Cordoba is pleased to present In The Court Of The Crimson King, a new series of paintings and drawings by Los Angeles-based artist Frohawk Two Feathers. The exhibition will run from February 2 through March 8, 2008. The gallery will host an opening reception for the artist on Saturday February 2 from 6-9pm. Violinist Shigeru will perform 19th century sonatas during the reception. This is the artist’s second solo show with the gallery.

Two Feathers continues to demonstrate his skills as a master storyteller with a modern take on the age-old themes of colonialism, imperialism and conquest. In these large-scale paintings and intimate works on paper, he creates a wartime narrative starring an imagined cast of characters. Two Feathers revisits the Frenglish Emperor Nancy in his quest to avenge his father’s death. As the villain, Lord William uses his influence as a nobleman and general of the Imperial Frenglish Army to stage a coup and overthrow Nancy and his mother. He proceeds to partition the empire and rename the areas loyal to him and his confederates, Anglica. This series chronicles William’s brief rule and the beginning of the re-conquest of Frengland by Nancy and his old enemies (now allies), the Inuit. Two Feather’s reappropriation of classical tenets of history and storytelling makes for a sometimes amusing and always poignant body of work. All artworks are loosely based on the lyrics of the song “In The Court Of The Crimson King” (written by Peter Sinfield) by the psych rock group King Crimson.

JEANA SOHN: My Hands are Crispy

Jeana Sohn:  My Hands Are Crispy
December 15 – January 26, 2008
Opening Reception: Saturday December 15, 2007, 6-9pm

Taylor De Cordoba is pleased to present My Hands Are Crispy, a new series of paintings on panel and paper by Los Angeles-based artist Jeana Sohn.  The exhibition will run from December 15 through January 26, 2008.  The gallery will host an opening reception for the artist on Saturday December 15 from 6-9PM.
Drawing upon bedtime fairy tales, poetry, nature and modern graphic design, Jeana Sohn paints a surreal world where fanciful situations can instantly turn dark. In one piece a bowing girl carries an axe and chopped wood on her back as swarming moths surround her.  Another scene of a girl floating amidst giant blue leaves looks peaceful until we see that arrows pierce her back.  The tension between serenity and violence/aggression runs through these new paintings.

Sohn’s work has always emphasized storytelling – a piece would typically be focused on a character, and a narrative would be implied by that character’s non-specific, and hopefully poetic, interactions with animals, little pieces of nature, and graphic elements. In this new series, the work is also about her process of art-making.  Her intention was to let her hands create without her mind dominating the process. The title, My Hands Are Crispy, refers to the recent detachment she has felt from the process.  This body of work is the result of her struggle to overcome her out-of-shape and “crispy” hands and enter a meditative mindset.

AQUA ART MIAMI 2007

Taylor De Cordoba is thrilled to be participating in Aqua Art Miami 2007 at the Aqua Hotel.

Fair dates:
December 6- 9

Exhibiting works by…
Sasha Bezzubov + Jessica Sucher
Kimberly Brooks
Ryan Callis
Frohawk Two Feathers
Kyle Field
Timothy Hull
Charlene Liu
Melissa Manfull
Claire Oswalt
Jeana Sohn

A GREAT DELICACY, curated by Melissa Levin

A Great Delicacy, Curated by Melissa Levin

October 20 – December 1, 2007

Taylor De Cordoba is pleased to present A Great Delicacy, a group show featuring 5 New York based artists, curated by Melissa Levin. A great delicacy can be an indulgence, but is also a way (with which) to render and create. The artists in this show are making work about food, sex, waste spills in the ocean, and the ways we digest or filter our own consumption. And there is an awareness in the work of the way we consume, a great delicacy in the treatment of the concepts and the rendering whether through photography, painting, drawing or collage. Generally it is more and more possible to become disconnected from what we eat, with whom we make love, where our waste goes after it leaves our cars, homes, and bodies. Each of the artists represented in this show are attentive to these things, if not in awe of them.

Rebecca Veit and Kathryn Hillier’s still lives, from their series, The Never Wilting Flower Project, are beautiful and strange. Using food and objects shopped mostly at farmers and flea markets in both Paris and New York, the photographs direct your experience of these moments as they might never occur – like a pineapple painted gold and used for its odd body or a post-coital pomegranate torn apart and resting in front of a dense red curtain.

Michael Bilsborough’s drawings are simultaneously wild and controlled, sometimes erotic, and often grotesque. They are depictions of orgies inside perfectly constructed architecture and using perfect perspective. Figures might be repeated several times, performing different acts, often on one another. Devoid of sensuality, or voluptuous flesh, these scenes are anonymous but charged and are especially so in a world so saturated with generic sexual imagery focused on titillation and usually for sale. Ultimately, in Bilsborough’s work, there is a great conflation of the most attractive opposites, the Apollonian and the Dionysian.

This combination of the excessive and the restrained also appears in a different form in Gregory Parma Smith’s paintings. There is something very decadent in his renderings of generic things like strawberries or a pocketknife. It is as if he has gone deep inside of the thing (and of painting itself) and extracted the elements of its Platonic iteration. The subjects and surfaces of his paintings are therefore exquisite and pristine, but also luscious and very exciting.

McKendree Key’s collages are part of a series called Possibilities “based on the infinite number of possible scenarios taking place in the North-Pacific Gyre.” The North-Pacific Gyre, located between Asia and North America in the Pacific Ocean, has been described as “soupy with plastic”* because of the amount of waste it contains – mostly due to large spills from container ships. There are not images of the spills and in response, Key has created collaged waves filled with computer monitors, Nike shoes, umbrellas and traffic cones – a comment on the proliferation of needless and ignorant over-consumption. *From “Beach: Nike Shoes Wash Up”, by Janice Posada of The Daily Herald (Everett, Washington, 2001)

And Danica Phelps’ records of spending, earning and making love, from the series Integrating Sex into Everyday Life, are a detailed and obsessive daily documentation. These quantitative and qualitative accounts provide a more literal iteration of the intake and output of things in the world. This kind of record can appear detached but here it remains a highly personal account of daily struggles and triumphs

CHARLENE LIU: Before the Storm

Charlene Liu: Before the Storm

September 8 – October 13, 2007
Opening Reception: Saturday September 8th, 2007 6pm-9pm

From September 8 – October 13, Taylor De Cordoba will present Before the Storm, marking the Los Angeles debut of Charlene Liu.  In this exhibition of new works on paper and panel, the artist uses a combination of hand dyed paper, oil, ink and watercolor to create abstract landscapes. The gallery will host an opening reception for the artist on Saturday Sept. 8 from 6 – 9PM.

In Before the Storm, Liu depicts microcosms of nature. As allegories, they remind us that forces of nature are beyond our control.  She creates a world in flux; flowers turning to minerals, pebbles to flowers, plant to water, animal to plant. She evokes invented landscapes from the abstracted patterns of color, shape and light. There is stillness in the work, but also a tension that without warning, a spontaneous re-configuration could alter the landscape.

In Mad Bloom, she invites viewers to peer through the interior of a vibrantly hued plant. In Dewdrop, she creates a deconstructed portrait of a plant changing into a water-like state. Some pieces have a more ominous tone.  In Uneven Orbit, polka-dotted legs and arms float amidst a swell of flowers and an ambiguous natural force, as if caught.  The delicate and ephemeral in nature become harbingers of ensuing change and agents of chaos.  Liu’s landscapes serve as reminders of the unceasing potential for metamorphosis in the natural world.

The power and beauty of Liu’s work relies on her mastery of materials and her mixed media process. Liu “paints” with hand dyed, marbleized papers, which she collages alongside watercolor, oil and ink. The seamless integration of these techniques allows Liu to express the movement, cycles and processes found in nature.

Charlene Liu graduated with a MFA from Columbia University in 2003. Her works were recently exhibited in Virgil de Voldere Gallery in New York, Galleria Il Capricorno in Italy, and Andrea Rosen Gallery 2 in New York. The artist resides and works in New York City and Eugene, OR.

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