Pure Like a Rose

Detail of My friends left me behind and went to the by Kazuki Takamatsu

Although my gallery visiting opportunities have dwindled, I was fortunate enough to pay a visit to see Kazuki Takamatsu's exhibit "Japanese Ideology of Puberty" at the Corey Helford Gallery. It was a very good show, full of complex imagery, haunting but humorous, erotic but ethereal. It is this tension between the serious and silly, the adult and the innocent, that gave this show such an engaging appeal.

The technique was distinctive, creating form and volume with simple depth mapping techniques and clear gradations between light and shadow. The resulted in a ghostly, yet iconic, set of visions.

As for the subject matter, the influence of manga stereotypes is obvious. However, the cartoon-like simplicity  hides a subtle psychological depth in the composition. Under the the surface of sword-wielding "magic girls" or dreamy school girls, there is a morbid and ominous darkness, hinting at an adult world of turmoil in which the fantastic archetypes of youth are powerless.

Detail of I expect the fog hides all which I don't want to by Kazuki Takamatsu

Yeah, the exhibit has wrapped up, but keep an eye open for Kazuki Takamatsu's work. I'm happy that I was able to check it out and am looking forward to seeing more at future shows.

Rededicated to the Arts

Shadows by Hush at the Corey Helford Gallery's exhibit Flying West for the Winter

In the old days, I used to feature at least one gallery review per week. It wasn't a scheduled feature, but was just an integral part of this blog. Well, I've been slacking off for far too long. It's time to bring back the art as a regular part of Paideia.

The reason that I stopped doing the gallery posts was because I wasn't getting to visit them as frequently. My working situation changed, making a quick lunchtime stop at Culver City or Bergamot Station less convenient. And you can't write a proper review without seeing the works in person; looking at the images on a website isn't the same.

Fortunately, over the past few days, I've been able to check out quite a few galleries. There is a whole lot of excellent work out there about which I would love to write.

Red Delicious by Linda Hesh at the Lois Lambert Gallery

So, here are a few works that caught my attention this weekend. But there were so many more. Hopefully, I'll be able to write up a few posts for you all over the next few weeks.

We'll see. ;-)

School Night by Okay Mountain at the Mark Moore Gallery

Enjoy!!!

Crucifixion Variations

Detail of Financial Sacrifice American Depress by Ron English

Over half a year has passed since last I wrote about an exhibit at the Corey Helford Gallery in Culver City, which is an inexcusably long time, especially since they have had so many awesome shows on exhibit. Well, I made a trip over to see their current show, Crucifixion, which presents works by a selection of their artists on the topic of sacrifice and sacred iconography. The variations were extremely interesting.

Although the images ranged from the haunting to the humorous, the theme was tightly represented by the artists, each in their own unique way. So, Ron English delivers upon the theme of sacrifice, while keeping true to his distinct imagery of social criticism. Likewise, Buff Monster subverts traditional Christian symbolism with anthropomorphic pink ice cream cones, turning a scene of devotion into one of humor.

Across the board, this show presents the unique vision of the gallery, coherent in theme but so wonderfully diverse in implementation.

Detail of Stigmata by Ray Caesar

I highly recommend paying this show a visit.

Objects in Motion

Detail of The Shallows (2012) by Korin Faught

I had the opportunity to visit the Corey Helford Gallery in Culver City, where the current exhibit is a group show, "Motion: The Art of Movement", which runs until June 30. This blog has featured many of the artists on display in this show, including Eric Joyner, Korin Faught, Ray Caesar, and Sylvia Ji. So, it was a pleasure to see new works from them.

Although I definitely enjoyed the show, I can't say that the theme of "movement" was compellingly explored. Certainly, in some works, there was some sort of obvious physical motion, a rocket ship zooming through space or the wind blowing through the subject's hair. In other works, the movement was psychological, represented by multiple figures or ghostly trailing images. And then there were works that featured compositional techniques that put the eye into a sense of motion, with radiating lines of color or stretched and distorted figures.

Detail of Cold Spell by Billy Norrby

For certain, each piece contained motion, be it physical, psychological, or technical. My question regards premise; is the movement central or incidental to the composition? For me, in too many pieces, the work contained, but was not about, motion.

But that doesn't mean it was a weak show, not by any means. The art was every bit as awesome as I've come to expect at Corey Helford's. Although the ostensible theme is not very compelling, I highly recommend this exhibit; the individual works are strong.

Detail of Space Patrol by Eric Joyner


Of course, I'm always in support of any showcasing of robots and doughnuts. ;-)

It's Been a Long, Long Time

Image from the Corey Helford Gallery's exhibit of "Legend of the Pink Cherry" featuring works by Buff Monster, which runs until May 5

It's been nearly three months since last I wrote about the gallery scene over in Culver City. Why the long neglect? I just haven't been able to spend quality time checking out the shows, especially not to an extent that would enable me to coherently review them.

Well, I was passing near the art district, not intending to stop and see things, but a strong passion to visit the galleries overcame me, even if only for a brief glimpse. And so I did.

Ideally, I would write up a bunch of reviews detailing why I appreciate each exhibit, providing context and commentary, linking to a vid to showcase the artist's body of work. Sadly, I was only able to get a few quick visits along Washington Boulevard sqeezed into my limited viewing time. But it was all good.

Detail of (A) Murder of Crows 8 by Stephanie Inagaki, part of Skotia Gallery's group show "Veneris XII" which runs until May 5

I figured that, while I may not have either the time or ability to write up proper reviews, at least I can share some photos with you. ;-)

A gallery view of Shay Bredimus' "Kotomi" at Koplin Del Rio, exhibiting until May 12.

Awesome work!

(Dough)Nuts and Bolts

Detail of Rocket Surfer by Eric Joyner

The vintage tin toy robots of the 1950s have a sense of optimism, an exuberance, that promises a bright future of technological miracles. Unlike the mechanized monsters that became more common in subsequent dystopian views of the future, the "atomic age" robots are the manifestations of enlightening science, the mark of humanity's transcendent genius.

In Eric Joyner's exhibition, "It's a Jungle Out There", on view at the Corey Helford Gallery, these icons of progress are shown undertaking a series of adventures, from being attacked by pythons or robot-eating plants to surfing both upon the primordial waves and across the starry void, scenes that could have come from the imagination of a child playing out stories from the pulp adventures of science fiction magazines or comic books.

It's a playful display of pop surrealism mixed with uplifting nostalgia. And donuts. ;-)

Detail of All Wrapped Up by Eric Joyner

In terms of technique, the paintings are impressive, rich with detail and vibrant colors. There is a visceral sense of place, evocative of classic jungle adventures from pulp fiction, such as the Tarzan stories of Edgar Rice Burroughs.

Baroque Beauty and Bygone Glamour

Detail of Regina (2011) by Sylvia Ji


"Gilded Roses" is an exhibition of new works by Sylvia Ji, on view at the Corey Helford Gallery. This is her fourth show at the gallery, which has showcased her fascinating development as a fine artist of "dark" visions, going from the Day of the Dead imagery typical of her early work, as shown in her exhibits "Por Vida" (2008) and "Haute Epoch" (2009), to an exploration of animal, "Shapeshifter" (2010), and floral themes.

This show is less overtly dark, lacking the creepy crawlies of her earlier work, but goes for a more subtle style. The antique baroque attire of her figures establishes a haunted mood, a long-lost glamour, as though we are viewing bygone beauties who persist as restless spirits. Each image is dominated by a single color. Most of the figures are associated with a particular type of flower. These qualities hint at some hidden significance, a story that explains the haunting, a meaning by which to understand the compulsions behind their lovely facades.

Mourning Dress in Violet (2011) by Sylvia Ji

As usual, Sylvia Ji has wonderful technique. The manner in which she allows the grain of the wood panel to establish a sense of atmosphere is fantastic. Her use of color is especially compelling in this show. And her skill at depicting beautiful women never disappoints.

The Aesthetics of Dread

Calamity (2011) by Ray Caesar


At the Corey Helford Gallery, the current exhibit is "A Dangerous Inclination," featuring the works of Ray Caesar, displaying his disturbing vision of a twisted Rococo world where beauty is but a facade, hiding a chthonic reality of nightmares and monstrosities.

Scenes of beauty are transgressed by the weird, insectoid legs extending from beneath the ample skirts of Fragonardian ladies, tentacles forming from the silken fabrics of an evening dress, turning an image of voyeuristic thrill into a recoiling vision of horror. It is a reality in which wrongness reigns. Though fully embracing of the dark fantastic, the images retain a Rococo sensibility towards the precious, the gorgeous, the sumptuous, even if vermin swarm the subject.

The contrast between that which invites and that which repels ignites the spark of dramatic conflict in the viewer's imagination, simultaneously inflaming the passions of desire and disgust, searing the beautiful abominations into the mind. It is a vision in which Beauty is the Beast!

Eris (2011) by Ray Caesar

Dark delicacies from a world of dangerous beauty.

Loco for Rococo and Kukula

Hazing (2011) by Kukula


"Lonely Opulent Things" is a solo show of Nataly (Kukula) Abramovitch's work on display at the Corey Helford Gallery in Culver City. The basic theme of this exhibit is the valuing of the Self through Material possessions, exemplified by the opulent 18th century French Rococo aesthetic. The doll-like subjects of these paintings have actually been "objectified" by incorporating elements evocative of Limoges porcelain into their figures.

Precious and opulent though they may be, the subjects depict a spiritual emptiness. They are all ornamentation and little substance. Bored and directionless, they lounge around in beautiful idleness. Even when displayed upon pedestals, these "Lonely Opulent Things" can't seem to muster the spirit to pose and preen. They are creatures of brittle clay and are hollow inside.

Broken Limoges (2011) by Kukula

It is this sorrow, regret, and loneliness that stands out. Unlike the Rococo inspirations from Fragonard or Boucher, these figures are not gleeful or engaged in an eternal fete galante. There is no vivacious play of Blind Man's Bluff or exuberant swinging. There is only an enervated decadence. When the pretty objects break, so too does the owner's spirit.

Voices of the Lake

Still Waters by Korin Faught

I had the opportunity to see Korin Faught's show "Voices of the Lake" at the Corey Helford Gallery in Culver City. Faught has a distinct image vocabulary and superb technique. Her imagery is captivating in both its beauty and mystery. It is an excellent exhibit, running until September 21st.

The use of duplicates is a common theme in Faught's work, but this show adds an additional twist with reflections in the water. It creates a complex psychological dialogue between the "real" figures and then between the "real" and the "reflected" figures. Moreover, the figures interact with the water not just as a mirror, but as a physical presence into which they are immersed.

So, let's consider the painting above, Still Waters. The title is reference to the phrase "Still waters run deep." This means that a person who shows a placid demeanor may actually have complex and forceful passions beneath the surface facade. And so it is that we have the figure of a young lady in triplicate, each of which display a different emotion towards a subject out of view to the figures right. The first seems to display a body language of yearning. The second expresses trepidation. The third leans away from the subject of her view with a sense of resigned detachment.

It's as if the figures are thinking "I desire this but I'm afraid to try for it. So I will not even attempt it. Instead, I will be content with viewing it."

The emotional impotency of these figures is further emphasized by the fact that they are stuck in the water. The reflections and empty background make them seem like lost, spectral beings. They are full of passion, but alienated from their ability to act upon it.

Soulless by Korin Faught

This sense of alienation is further emphasized in Soulless. This woman has been overwhelmed by the waters, as indicated by her drenched appearance. Moreover, she has no internal dialectic, as indicated by the lack of duplicate figures. Furthermore, the background has gone black, with only a distant light source that shines only upon her. With a questioning, confused posture, this lonely lady becomes an image of perdition.

Peddlers of Death

Detail from Peddlers of Death by David Stoupakis

I've been meaning to write a glowing review about the current exhibit of David Stoupakis' and Tom Bagshaw's work at the Corey Helford Gallery in Culver City. Since it's closing on August 27, I figured it was now or never. So although there is only one week left for this show, I think it is excellent enough to merit my writing time and your viewing time.

I've got a fascination with morbid topics, such as death, ghosts, horror stories, and most sorts of Gothic styling. Both of the artists on exhibit deliver on the dark imagery, albeit in different manners. David Stoupakis presents a haunting set of serious imagery in his show "Walking Within These Shadows" in which ghostly young women or girls drift wraithlike within a gloom-filled, Stygian environment. These images hint at an underlying narrative of death and sorrow.



The Choice by David Stoupakis


The milky eyes and pale flesh of his figures imbue even the robust images with an enervating sensation of undeath. They are animated by a mysterious, umbral energy.

Idle Hands Are the Devil's Tools

Witch (Is She Weird?) by COOP

If you're a fellow fan of "Lowbrow" art, then you absolutely can't miss the current show at the Corey Helford Gallery, "Idle Hands: Works by COOP". I've long been a fan of his work, especially that cute devil girl with the Popsicle. There is such a cheeky vibrancy to his images that they always make me happy. Playful, erotic, energetic and silly, they have a gonzo disregard for self-serious aesthetics.

But don't think that they are amateurish. COOP's work is technically exquisite. His color utilization is bold and sophisticated. The line work and compositional design keeps the eyes playing around the canvas. An especially impressive technical feat is how COOP creates a overtly flattened image but, through overlapping text or images, creates the impression of foreground and background. It is a very dynamic style.

American Woman (Jasper's Flag) by COOP

But most of all, it's fun!!!