LA Artcore Union Center for the Arts (Little Tokyo)
MARCH 1 - 30, 2013
Opening Reception: Mar. 2nd, 2014 3-5PM
Conversation with the Artists: 4PM
LOS ANGELES, CA - L.A. Artcore is pleased to present this tandem-solo exhibition between artists Sangeeta Reddy and Yari Ostovany, both mid-career artists who have developed distinct oeuvres encompassing abstract and representational modes of painting.
The recent body of paintings by Denver-based artist Sangeeta Reddy is inspired by the geologic topographical treasures of the Colorado Plateau, a largely undisturbed region covering over 130,000 square miles across the United States' Four Corners. Having come to the United States from India in 1978, Ms. Reddy is known for incorporating the aesthetic influences and experience of her native Hyderabad with those of the Western United States. She has explored and documented some of the region's numerous sites in Utah, Colorado, Arizona and New Mexico, yet the landscape genre—and nature as a subject—is an aesthetic departure of Ms. Reddy's that is taking place after a career of over twenty-five years of pure abstraction. In Ms. Reddy's debut appearance on the West Coast, the artist combines and utilizes photographs, memory and invention, directing movement through undulating compositional and chromatic relationships. By simplifying shapes down to their inherent geometries or extending them biomorphically Reddy establishes a visual equivalent between imagination and the site itself. For more information about the artist visit: www.sangeetareddyart.com
For his first exhibition in Los Angeles since the mid-Nineties, Artcore welcomes Bay-Area artist Yari Ostovany, whose abstract paintings reveal primordial nature and natural phenomena methodically and intuitively formed in layers, a context upon which varied and boundless interactions of color, light and form emerge and enlarge. Ostovany develops their surfaces organically in layers, out of which emanate the artist's conception of nature channeled through paints' materiality as light and forms emerge. Ostovany connects with the unknown by stretching the limitations of paint and its properties with non-traditional painting tools such as squeegees, spray-bottles and wok-cleaning brushes. In the artist's words, "My artwork is a personal journey of exploration into the realm of the spiritual through the alchemy of paint, color, light, texture and the poetics of space. My paintings are records of this intuitive journey. I start with calligraphic based gestural marks, solid forms and shapes which then begin to disintegrate as the layers explode and implode, are added, rubbed out, re-applied, scoured into and scraped away built back up, expanding and developing in a rhizome-like, lateral structure until the distinction between the foreground and background and the spatial hierarchy begin to dissolve, somewhat akin to layers of memory - and give way to another, ephemeral sense of form and visual phenomena." For more information visit: www.yariostovany.com
LA Artcore Brewery Annex (Lincoln Heights)
MARCH 2 to 30, 2014
Opening Reception: Sunday Mar. 2nd, 2014 1-3PM
Conversation with the Artist: 2PM
LOS ANGELES, CA - LA Artcore presents the work of two artists who have strong ties to both the United States and Europe, in their lives trading continents. They also have a shared an interest in blending concept and construction.
Ros Cross is a transplant from England, who studied at the Royal College of Art before becoming a Californian for life. Her life as an artist has undergone a number of transformations, marked by a steady progress of shifts in medium and concept. Starting with soft form sculptures and resin work in the late 1970’s, including her Pancake, Butter & Bacon sculpture, a commentary on food consumption, that managed to become famous in the world of great quilts. Her early phase focused on materials, employing the humble and everyday to effect a tension of change. After many years designing landscapes pulled her creativity, she resumed her studio practice in 2007.
The artist explains that her work has transformed into something entirely different, deeply employing geometry, now holding in consideration the fundamental elements of drawing - point, line, and plane – sensible to the mind, as a working view on fundamental reality. Geometry in itself is clearly spotted in her monoprints. It may be that her familiarity with the patterns and actions involved with working the outside environment shows itself by using overt physical marks, such as the strident wave forms and interference patterns in her drawings and especially the steady sweeping arcs and murmurations of color in her paintings. There’s a bit of cheek in the bright colors she applies to simple, directly functional concrete castings, that seem to act like a thread tracing back through all the turns of direction in her interest in immateriality.
Regarding Liz Bachhuber, it is a rare distinction to exhibit the work of such an energetic, productive sculptor. The array of works are displays of an inherently intuitive ability for system surfing, floating a strength of imagination along with it. Each work is as various as it is signature in its levity. Reviewing her strong catalog shows work that has consistently held a steady balance between full presence as a maker while presenting a vehicle for the delivery of language. From Milwaukee, Wisconsin, she transplanted to Germany in the culturally intense year of 1979. Starting with a Fulbright to attend the Art Academy in Dusseldorf, she would eventually become professor of sculpture at the Bauhaus University in Weimar. The country’s art scene became her adopted home and found her valuable.
Her work is a blend of subtle construction with literary, philosophic intensity, a firm voice alongside a concern for a clear form. The artist’s work is generous in its offering of intelligence for the sake of communication between parties. Natural and human made elements combine, revealing glimpses of an elegant sense of line. Previews of the specific work being brought to Artcore by this valuable international art educator suggest glow and frost, bark and transparency, textural details like glass and hose lengths married to wood, links between open passageways and sealed nodes.
The artist produces layered interactions: bold elements in the sculpture, directed conversation with the viewer, in tension all to itself for having an aspect of beauty. The work as a result possesses being, at once urban and rustic, as though she were creating not objects of meaning, but a kind of subtle form of life in a container. The works could almost be imagined to be naturally occurring, as though it could be found in state for the human. Bachhuber writes in her text for the series Changed Nature, one of two named branches that divided her practice from the start (along with Domestic Passions): “Sublimities are not conjured up, rather, we are reminded of natural beauty.” There is at once a reminder and an anchor in the interplay that makes life: “When branches merge with inscribed paper, nature is encoded.”
Concerned with connections, and creating them between elements, Liz Bachhuber offers us a refreshing and poetic way of seeing. With Ros Cross, both women emphasize that producing visible dedication to their practices is nothing to do with the preciousness of the materials employed, and throughout our lives we very ordinarily, regularly encounter materials that can be used as voice, with their placement forming physical extensions of the mind.