Sayre Gomez
05 - 30 Sep 2015
© Sayre Gomez
“Television on stand with Oxygen Tanks and Foam Cooler
in Violet over Black”, 2015
Polyurethane and Enamel, carpet
83 x 365 x 272 cm
Photo: Simon Vogel
“Television on stand with Oxygen Tanks and Foam Cooler
in Violet over Black”, 2015
Polyurethane and Enamel, carpet
83 x 365 x 272 cm
Photo: Simon Vogel
SAYRE GOMEZ
Collections and Accumulations
5 - 30 September 2015
We are pleased to present Sayre Gomez: Collections and Accumulations. For his first solo exhibition with the gallery the artist will present an ambitious new project featuring new paintings, sculptures and video.
We often believe our collections – whether books, furniture or framed photographs – reflect who we are. On occasion they remind us what we are: oxygen tanks and Ezy dose pill cases tell us we are vulnerable bodies, subject to expiration. Negotiating one’s self and subjectivity in relation to the objects and surfaces surrounding us is a complex affair, particularly for art history. The self, as David Joselit wrote in 2001, “is constituted through a play of surfaces” what he called “psychological flatness” – a proposition that engaged with the material and psychic qualities of “flatness” to demonstrate how intricately subjectivity is informed by both.
The works in Collections and Accumulations reflect the hollowness of form and the ambivalence of abstraction. The window, as framed transparency, remains a useful model for thinking through paintings that do not attempt to enclose pictorial content as much as embody transparency itself. If the effervescence of diet cola, the protracted combustion of smoke, and the pixilated glitch of digital transfer are iconography that evoke the disembodied and impalpable, the arbitrary manner in which such content takes on the guise of emotive abstraction or precise photo-realism troubles our expectations of how artistic styles convey meaning, reducing painting to an even flatter logic of images rather than medium.
The sculptures are collected from varied sources both public and private, an assortment of objects are projected into the field of aesthetics by way of physical displacement, both in form and context. The artist initially cast these objects in plaster, only to re-cast them again into a more modern material—synthetic, black plastic. While such alterations may not be immediately discernible to the viewer, it is the very viability of this forced material traversal that reflects both the troubling proximity of art to more banal domestic objects and the ease in which the social and technical conditions of production undergo erasure.
From the invisible labor of post-industrial economies to the impalpable forms of digital media and the instability of art historical categories, the works presented here form an allegory for the nature of images in perpetual transit.
Sayre Gomez lives and works in Los Angeles where he received his MFA from CalArts in 2008. He received his BFA from the School of the Art Institute of Chicago in 2005. Recent solo exhibitions include: I’m Different at Francois Ghebaly in Los Angeles, Ca., and I’m Different II at Galerie Parisa Kind in Frankfurt, DE. Recent notable group exhibitions include: Eagles II at Galeria Marlborough in Madrid, ES., A Painted Horse by Joe Sola at Tif Sigfrids Gallery in Los Angeles, Ca., Unfinished Season, (curated by Marc Leblanc) at Nagel/Draxler in Cologne, DE., The Stuff That Dreams Are Made of, at CLEARING in Brooklyn, Ny.
Collections and Accumulations
5 - 30 September 2015
We are pleased to present Sayre Gomez: Collections and Accumulations. For his first solo exhibition with the gallery the artist will present an ambitious new project featuring new paintings, sculptures and video.
We often believe our collections – whether books, furniture or framed photographs – reflect who we are. On occasion they remind us what we are: oxygen tanks and Ezy dose pill cases tell us we are vulnerable bodies, subject to expiration. Negotiating one’s self and subjectivity in relation to the objects and surfaces surrounding us is a complex affair, particularly for art history. The self, as David Joselit wrote in 2001, “is constituted through a play of surfaces” what he called “psychological flatness” – a proposition that engaged with the material and psychic qualities of “flatness” to demonstrate how intricately subjectivity is informed by both.
The works in Collections and Accumulations reflect the hollowness of form and the ambivalence of abstraction. The window, as framed transparency, remains a useful model for thinking through paintings that do not attempt to enclose pictorial content as much as embody transparency itself. If the effervescence of diet cola, the protracted combustion of smoke, and the pixilated glitch of digital transfer are iconography that evoke the disembodied and impalpable, the arbitrary manner in which such content takes on the guise of emotive abstraction or precise photo-realism troubles our expectations of how artistic styles convey meaning, reducing painting to an even flatter logic of images rather than medium.
The sculptures are collected from varied sources both public and private, an assortment of objects are projected into the field of aesthetics by way of physical displacement, both in form and context. The artist initially cast these objects in plaster, only to re-cast them again into a more modern material—synthetic, black plastic. While such alterations may not be immediately discernible to the viewer, it is the very viability of this forced material traversal that reflects both the troubling proximity of art to more banal domestic objects and the ease in which the social and technical conditions of production undergo erasure.
From the invisible labor of post-industrial economies to the impalpable forms of digital media and the instability of art historical categories, the works presented here form an allegory for the nature of images in perpetual transit.
Sayre Gomez lives and works in Los Angeles where he received his MFA from CalArts in 2008. He received his BFA from the School of the Art Institute of Chicago in 2005. Recent solo exhibitions include: I’m Different at Francois Ghebaly in Los Angeles, Ca., and I’m Different II at Galerie Parisa Kind in Frankfurt, DE. Recent notable group exhibitions include: Eagles II at Galeria Marlborough in Madrid, ES., A Painted Horse by Joe Sola at Tif Sigfrids Gallery in Los Angeles, Ca., Unfinished Season, (curated by Marc Leblanc) at Nagel/Draxler in Cologne, DE., The Stuff That Dreams Are Made of, at CLEARING in Brooklyn, Ny.