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MALONEY FINE ART APPRAISAL SERVICES
6121 Sunset Boulevard, Los Angeles, CA 90028
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MALONEY FINE ART
JEFF COLSON
Shelters / Pavilions + Notes
NOVEMBER - DECEMBER, 2016
Jeff Colson, Awning, 2016, Fiberglass, string, steel and acrylic paint, 19 x 30 x 12 inches
Maloney Fine Art is pleased to present Jeff Colson’s third exhibition
at the gallery, with a selection of new wall reliefs from an
ongoing body of work titled Notes and two sculptures from the Shelter/Pavilion
Series.
For the past ten years Jeff has been working on a series of bas-relief sculptures, titled Notes, which focus on the ephemeral quality of paper, as a subject and a material and addresses the duality of Form vs Content. Paper, was once the repository of "pure" information, non physical, abstract. However, with the advent of digital technology, paper has become this very physical, concrete artifact. These particular works speak to the artist's intense desire to exert some kind of control, or order, over an increasingly chaotic and unpredictable world. Each work depicts a peripheral accumulation of paper, once symbolic of the day-to-day frenzy of one's life. As a single sheet it is barely there, but when accumulated, it becomes physical and symbolically loaded as information, emblematic of the systematization of our daily existence.
In these works there occurs a breakdown between positive/seduction and negative/defensive, reactionary impulses. This can be seen in the Shelter /Pavilion sculptures which are, on one hand, an elemental definition of home; which provides the universal need for cover, a place of refuge, providing protection from bad weather or danger, to shield, screen or insulate and protect against the elements. On the other hand, a discrete locale for celebration.
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. 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; Colección Júmex, Mexico City and in the Los Angeles County Museum of Art’s permanent collection.
For the past ten years Jeff has been working on a series of bas-relief sculptures, titled Notes, which focus on the ephemeral quality of paper, as a subject and a material and addresses the duality of Form vs Content. Paper, was once the repository of "pure" information, non physical, abstract. However, with the advent of digital technology, paper has become this very physical, concrete artifact. These particular works speak to the artist's intense desire to exert some kind of control, or order, over an increasingly chaotic and unpredictable world. Each work depicts a peripheral accumulation of paper, once symbolic of the day-to-day frenzy of one's life. As a single sheet it is barely there, but when accumulated, it becomes physical and symbolically loaded as information, emblematic of the systematization of our daily existence.
In these works there occurs a breakdown between positive/seduction and negative/defensive, reactionary impulses. This can be seen in the Shelter /Pavilion sculptures which are, on one hand, an elemental definition of home; which provides the universal need for cover, a place of refuge, providing protection from bad weather or danger, to shield, screen or insulate and protect against the elements. On the other hand, a discrete locale for celebration.
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. 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; Colección Júmex, Mexico City and in the Los Angeles County Museum of Art’s permanent collection.
Jeff Colson was 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
The artist lives and works in Pasadena, California
MALONEY FINE ART
Augusto Sandroni:
''Hey! Where Are You Taking Me?"
July 2 - August 13, 2016
Augusto Sandroni "Lost in Space" 2016, Oil on canvas, 16 X 12 inches
Recalling an all day hike he undertook with a friend several years back, Augusto stepped into a new body of work for his second exhibition with Maloney Fine Art. The new paintings are a continuation of the artist’s eternal inquisitiveness into historical and contemporary abstraction and a reflection of his love for adventure and play when working in his studio.
In 'Hey!
Where Are You Taking Me,' Augusto continues to be inspired by readings of Eastern
Philosophy such as Buddhism and Daoism, conditioning him to react to the present
instead of working in a prescribed, outlined fashion.
After spending
several hours climbing a steep trail, and subsequently a rock face, using their
bare hands (no harnesses or climbing gear), Augusto and a friend found
themselves several miles away from the trail head; Augusto continued to press
on, towards the other side of the mountain hoping to find a way back other than
the route they had taken so far. The
trail had long disappeared (ended?) and his friend began to ask for them to
turn around as they had no GPS, compass or water. Treading ahead became more
difficult as the vegetation became more dense and thorny, and the terrain more
technical and rocky, and they were running out of daylight. At one point Augusto looked back and his
friend had stopped following him: “This ain’t no trail” his friend yelled,
“besides we don’t know what’s down there by the gully, let’s go back since it’s
getting dark and it will be lots harder to get back down”.
Much like the hike,
Augusto’s new paintings favor uncharted territory. In “Hey Where are you Taking
Me?”, he asks his own studio practice the same question his friend asked him
when they became lost on their hike. As Augusto makes each painting, he expects
a new adventure and he prefers to embrace the journey trusting his intuition no
matter how uncertain the outcome can be.
Like the Arte Povera artists before him, Sandroni attempts to break down the ‘dichotomy between art
and life’ (Celant: Flash Art, 1967), mainly through the creation of
paintings and works on paper, made from everyday materials. These apparently
simple, abstract compositions are instantaneous, yet come out of a practice of
extreme observation, using spatial construction and wonky, slightly off-kilter
geometry as optic devices of stimuli.
The artist, who was born in Salvador, Bahia, Brazil in the 1960s, came of age
when the Utopianism of tropical Modernism was at its peak, and that, along with
the largest carnival in the world, played a
creative role in later forming his artistic vision. Seeing himself as a
visionary artist who operates as if self-taught, Sandroni intuitively works
with mundane, non-traditional processes and materials, such as industrial tape,
aluminum foil, cardboard, burlap, found objects, and fabric paints. Not
striving to make something too perfect, he makes non-symmetrical forms out of
cut pieces of tape that act as a “place holder” for paint impasto, playing with
the coincidence or absurdity that something can be made from these materials.
Augusto Sandroni was born
in 1964 in Salvador, Bahia, Brazil. He received a Bachelor of Fine Arts Cum
Laude in Painting-Printmaking, at San Diego State University (2011) and
received his Master of Fine Arts from Claremont Graduate University (2014).
Hey!
Where Are You Taking Me? is the artist’s second solo exhibition in Los Angeles.
Augusto Sandroni lives and
works in Los Angeles,
California.
Yassi Mazandi 'Germs on Sheets' May 14 - June 25, 2016
“Germs on Sheets:” an exhibition of new paintings on linen,
mixed media on paper as well as new porcelain “Flower” sculptures by Los
Angeles artist Yassi Mazandi. This marks
the artist’s second exhibition with the gallery. While Yassi’s inspiration has always
principally come from nature, with its often symmetrical and replicating
qualities, this exhibition is evidence of her similar fascination with the more
organic forms which nature has to offer.
The result is a body of work that, while rooted in nature’s order and
symmetry, reflects many of the dynamic, vibrant, occasionally unexpected twists
and turns that are inherent in biological matter.
The inspiration for this
series came from a “hygiene horror stay” at a motel and led to a temporary
engrossment, perhaps even obsession, with germs and their biological forms. Applying the principle of “reduce, reuse,
recycle,” most of the materials to which she has applied her mixed media
techniques and imagery are indeed recycled: vintage French linen bed sheets,
vintage French linen pillowcases as well as Italian Army surplus linen
“fart-sacks” (a military term for the mattress cover which envelops an army
bed). The works on paper, executed with
inks, dyes, watercolor and correction fluid, illustrate
the artist’s fascination with amoebic structure.
The gallery will also
present several signature hand carved porcelain sculptures, which the artist calls
“Flowers.” These biologically inspired
works seem simultaneously ancient and futuristic, mechanical and natural,
masculine and feminine – with references to sacred geometry. Labyrinthine and seemingly engineered, these
one-of-a-kind sculptures are created by applying manual cuts and bends to two-sided
ceramic sculptures, handmade on a potter’s wheel. The process is entirely subtractive. Nothing
is added. While these elemental and
complex “Flower” forms are seemingly based on mathematical principles, they are
not simply systematic, as the artist’s hand always intervenes, pulling,
carving, finishing and layering.
Yassi Mazandi was born in Tehran, Iran,
raised in Great Britain and lives and works in Los Angeles. She studied advanced
photography and art in Oxford, England and sculpture and ceramics at Greenwich
House Pottery, New York City. In 2012 she was an Artist in Residence at the
Robert Rauschenberg Foundation in Captiva, Florida. Her work has been exhibited
internationally and is included in the collection of the Los Angeles County
Museum of Art (LACMA) and other public and private collections here and abroad.
Anthony James 'Shadow Work' March 19 - May 7, 2016
Maloney Fine Art is pleased to present Shadow Work, the gallery’s first exhibition of sculpture by Anthony James. The gallery will show selections of recent work: a highly polished aluminum totem ‘Untitled (Five Solid Circles),’ two polished steel “Shotgun Paintings” and ‘Birch 2012:24x48x12,’ a wall-mounted, double-mirrored sculpture.
Recently, Anthony James has focused his attention on a series of totemic aluminum sculptures, polished to a reflective luminosity, that play with the metaphysical polarities of presence and absence, being and nonbeing. ‘Untitled (Five Solid Circles)’ draws the viewer in with mirror-like surfaces that reflect or distort the viewer and the surroundings, suggesting the notion of continuous space and light.
Two reflective sculptures from the ‘Shotgun Painting’ series are a different form of transformation altogether, derived from assault with high-powered firearms, fired into steel, transforming the immaterial into the material. The finished works have a restrained, terrifying beauty, belying the violet nature of their creation.
The Celtics believed that in the birch groves, long associated with birth and rebirth, you could hear whispers of transformation and growth within the soul. For ‘Birch 2012, 24x48x12’ the artist cut birch tree branches and placed them in a polished steel and double-mirrored vitrine, lit by LED lights, transforming them into an infinite grove of birch trees, the symbol of new beginnings, purification and healing.
Anthony James, (b.1974) is a sculptor, painter, and performance artist. Perhaps best known for his work KΘ (2008), short for kalos thanatos (Greek for beautiful death), a double-mirrored vitrine containing a Ferrari F355 Spider that had been set on fire, James destroyed the external form to capture and magnify the terrifying beauty of its destruction. This was done as a performance in upstate New York to replicate the ancient Greek sacrificial offerings to Venus in a birch forest—birch being symbolic of new beginnings, purification and healing. “We destroy things of value so the gods will not destroy us.”
James studied at Central Saint Martin’s College of Art and Design in London (1994-98) and has lived in New York, Munich and currently in Los Angeles. James has had solo exhibitions at Walter Storms Galerie, Munich; Brand New Gallery, Milan; Patrick Painter, Los Angeles; Gavlak, West Palm Beach; Kantor/Feuer, New York; and Apex Art, New York.
A monograph; Anthony James: Morphic Fields was published by Hatje Cantz on the occasion of his 2014 exhibition at walter storms galerie, Munich
Jeff Colson 'Stacks' November 7 - December 19, 2015
For the past ten years Jeff Colson has been working on
a series of sculptures, paintings and watercolors that focus on the ephemeral
quality of paper, as a subject and a material. Each work depicts a peripheral
accumulation of paper, once symbolic of the day-to-day frenzy of one’s life. As
a single sheet it is barely there, but when accumulated, it becomes physical
and symbolically loaded as information and the systematization of our daily
existence. Colson recognizes that in an attempt to control chaos we
are sometimes caught in a manic and desperate spiral to prevent the inevitable,
the absurdity of this “Catch-22” is evidenced by the accumulation of almost
everything that we desire, regardless of need. Ironically, now with the digital
age, paper is on the brink of extinction. This existential view has been the
underpinnings of most of his work, coupled with a desire to make objects from
memory with all its distortion—a personal validation of acquisition.
Using his own handcrafted techniques, the elements of the work
are carved, cut, sawn, sanded, painted, welded, and molded to replicate an
object that is recognized at once for its intent and as absurd as an art
object. Stacks (2014-2015) is an amalgam of three happenstance
load-bearing objects: desk, drop leaf table and a milk crate supporting an ever
increasing and ominous mountain of paper stacked like performance bar graphs.
These comically wobbly towers of paper, the residue of well-intentioned
ambitions seem touching in their sincerity, and the act of attempting
insurmountable odds, a universal experience.
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.
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; Colección Júmex, Mexico City and in the Los Angeles County Museum of Art’s
permanent collection.
Jeff Colson was 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
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