2680 South La Cienega Blvd
Los Angeles, CA 90034

November 8 – December 20

Jeff Colson “Roll Up” 2012, carved and painted wood construction, 96 X 120 inches

An exhibition devoted to one monumental artwork and supportive drawings.

“Roll Up,” is a figurative sculpture of carved and painted wood. This “archetypal suitcase” is presented as a partially opened door of a storage unit replete with everyday items such as file cabinets, an ironing board, lawn chairs, a tire, a stereo receiver, plastic containers, and other durables of consumer culture. Colson notes, “The storage metaphor is an existential conundrum, the half-baked notion that if we get all our things in order we might actually keep living indefinitely. There is a furious futility to this accumulation of ‘stuff,’ the overabundance of questionably essential choices, and thinking these things just might come in handy sometime in the future.”

The artist’s approach is a “memory-based idea with all its distortion,” as constructs of the work are biographical from memory. Individually forged through Colson’s own hand-crafted devises, the elements are carved, cut, sawed, sanded, painted, welded, and molded to replicate a relief of modules customized to fit snuggly within the confines of this manufactured receptacle.

The process is instinctual, immediate, and spontaneous yet expendable. Rather than appropriate an existing object, Colson makes it up as he goes along, choosing to rely on a stream of consciousness methodology, which reveals interpretive flaws that intentionally lack hyper-realistic qualities. “I like working that way,” the artist insists, adding, “there is an expedience to quickly knocking something out, as opposed to relying on what you happen to find.”  Colson’s intent is not one of anti-reality, or a statement against ready-made or found objects. Nor is it a defensive gesture in reaction to art market trends or the world in general. His acumen is organic, efficient, and honest.

“Roll Up” is a continuation in a body of work that the artist has been developing for the past decade.  Autobiographical in nature, Colson╩╝s work is created from memory rather than existing objects and wields material in a way that is both transcendent and humorous. Distortion and inaccuracy play a role, which he refers to as “wobbly logic.”

Jeff Colson grew up near the oil fields just north of Bakersfield, California. His father was a social worker whose do-it-yourself aesthetic, making everything from toys to homemade life jackets, informed Colson’s own identity as a “crackpot tinkerer.” In his sculpture, Colson refers to both that quirky, by-the-seat-of-your-pants decision-making process and Modernism’s purist grid. The sculptures are fabricated from both personal and cultural memory, often without referencing specific objects or images. The resulting forms are familiar, but aren’t real. The ambiguous quality of the “fabricated” object that is real and isn’t “real” registers the distortions of memory on “remembered” images and/or events.  Colson’s sculptures are physical documents of remembered reality. The sense of history is also literal as each piece can take months, even years to make.

Jeff Colson graduated from California State College, Bakersfield. His work is in the Collection of Count Giuseppe Panza di Buomo at the Museum of Contemporary Art in Los Angeles; the Sammlung Rosenkranz Foundation in Wuppertal, Germany; the Frederick R. Weisman Museum of Art at Pepperdine University in Malibu, California; and in the Los Angeles County Museum of Art’s permanent collection.

Jeff Colson was recently awarded a 2012 John Simon Guggenheim Memorial Foundation Fellowship and a 2015
City of Los Angeles (C.O.L.A.) Fellowship

The artist lives and works in Pasadena, California

TIM HAILAND: A Possible Forest
September 13 - October 31

Tim Hailand, Dita Von Teese Lipstick Mirror Garden, 2014, unique digital print on black and white fabric, 44" X 29"

Although from the outset Tim Hailand’s photographs are visually compelling, their subject matter, while figurative, is not immediately discernable. With scrutiny these images gradually reveal their contents. Large-scale, present day, usually male figures who are shirtless loom through what seem to be a series of generally monochromatic scrims of pastoral patterns nearly always taken from the distant idealized past. The robust photographic realities of the present are perceived in tandem with imaginary woodland scenes peopled by costumed nymphs, dryads, farmers, fishermen, and laundresses.

What in lesser hands might be merely theatrical, or cinematic juxtapositions are instead pictures suffused with vigorous dreamlike visions. Time itself is talking; the thoroughly modern is in present dialogue with art from the past. These conversations, as if overheard or glimpsed in gardens, are not didactic but rather invocations guided by the artist’s intuition and chance as he prints his photographs onto patterned cloth of the kind called toile de Jouy. It began to figure in his work during a residency at Monet’s Giverny where his bedroom was papered with a red and white eighteenth-century toile of pastoral scenes.
Hailand later purchased cloth of this same variety to use as grounds on which to print his
photographs. These are often portraits of athletic European men, artists, and performers, made, in a variety of places, but also at Giverny. Cloth was mounted to paper cut to dimensions of a size that could be made to fit through an Epson printer and onto which the digitized portraits were directly printed. On occasion the boundaries of the fabric extends beyond the edges of the photograph so that it frames as well as filters what we see. The opacity of the inks and the patterns they carry both mask as well as frame the photographic imagery. The addition of the colors of the toile is intrinsic to the force of the finished works.

Occasionally unexpected juxtapositions of the pattern of the fabric and the flesh of the models give the illusion that bodies and faces are heavily tattooed in ways that overrun, even overwhelm, actual anatomy, as when the drawing of a branch of a tree drapes down from the nape of a man’s neck and splays out over the top of his chest while another leafy limb runs over his ear and forms a kind of carnival mask on his profile. In another image the mast of a ship and a sail extends from a chin up over a mouth and then up onto the bridge of a nose while smaller boats sail across his temples.

The results of these arcane procedures are splendid, simultaneously subtle and strong. Guided by the artist’s intuition, his restless experimentation, and his relentless editing of the results, a unique body of work has come into being. By utilizing revisions of pastoral idylls from the decorative arts of the past, Hailand has uniquely enriched and enlivened modern heroic portraiture.

The artist lives and works in Los Angeles. 


Electro Wonky Funkadelic

Augusto Sandroni Installation July 2014

Untitled (fleur de Hatiora), 2013-14, Oil on canvas, 9 ¼ x 7 inches            

Untitled (King Momo), 2014, Duct tape on canvas, 72 X 48 inches each panel / 72 X 84 inches overall       


Untitled (Los Angolandia II A & B), 2014, Oil on canvas, 12 x 8 ea / 12 x 16 inches overall   

Augusto Sandroni Installation July 2014