Sunday, March 22, 2009

Lawrence Asher Gallery
5820 Wilshire Blvd #100 Los Angeles, CA 90036
ph: 323 935 9100

Context and Construct Group Show
March 28 – April 18
Opening Reception, Saturday March 28th, 6 – 10pm

Jay Brockman
Kathleen Buckley
Todd Carpenter
Christopher Martin Hoff
Andrea Schoening
Scott Teson

Lawrence Asher Gallery returns to works of architecture, the environment and what is defined. Each piece in this show offers a unique perspective, a visual statement reflecting the surroundings in which we live. Within this dynamic framework, the artists present a cross pollination of ideas as they interpret contemporary urban landscapes and structure. Combined with their refinement of light and color, this group defines its space as it enlightens ours.

Brockman and Carpenter imbue their photo-realistic scenes with a masterful use of revealing light. Schoening draws on her architectural life to build canvasses that challenge construct and bargain with the horizon. Hoff presents detailed plein-air paintings of buildings and their negative spaces. Buckley toys with her environments and those who dare inhabit them. Finally Tesin, with distinctive execution, composes contemporary worlds inspired by popular culture and art history.
Jay Brockman After a brief hiatus, Jay Brockman returns to his Sunset on Sunset series at Lawrence Asher. He continues his signature style, using gestural brushstrokes to evoke the richness and culture of the Los Angeles cityscape. His work finesses the tightrope dynamics of light and dark - the vibrant, loosely painted sky meets the jagged, precise shapes of frenzied urban sprawl below. Opposing forces exist independently and give rise to each other in turn. A visual metaphor has been created for the city through unique and independent elements that live and thrive within and are brought into focus by the special evening glow. The paintings appear undeniably photorealistic, but upon closer inspection you can see the painterly effect of each precise brushstroke.
Kathleen Buckley - Navigating through my Metropolitan Los Angeles backyard, I traipse through all the visual information that I have unlimited access to, marveling in the coexistence and various oppositions that engulf me, thereby creating in my work a world of whimsy which demonstrates man vs. land, competing for the grandstand. Whether it be painting or drawing, both mediums become platforms for exaggerated structures and green foliage combined with all their man-made baggage and natural occurrences, to illustrate an attempt of balancing evenly on the teeter totter of life, but more often than not, falling short of that effort, yet embracing the absurd situations that become of it. Primary colors represent the man-made while the natural landscape is dressed in it’s uniform of blues, browns and greens. Motion is always prevalent, reflecting the macro flow of the world at large. A candy land of sorts is perhaps what I’m creating, sometimes skipping out on the sugar. All the parts, pieces, links, barriers, branches, and intersections create a language for me to process the world with, as I traipse along with man in the land. ~ K.B.
Todd Carpenter - My paintings attempt to examine the effects of light and the role light plays in our recognition and aesthetic experience of the visual world.

Our surroundings are too varied and complex for our brains to contain a complete catalog of what we might perceive, making it necessary for us to rely on short cuts for understanding visual information. Light - more specifically contrast - must play a critical role in this process of comprehension. Subtle variations in light enable us to understand properties such as form, texture, and even atmospheric quality. In fact, objects are defined and understood not so much by their details as by the manner in which they interact with light: clouds can take on an infinite variety of shades or shapes, but there is something distinctive about the way in which light passes through a cloud; similarly, a square corner is distinguished from a round one primarily by the manner in which the illuminated and shadowed portions meet.

To explore these perceptual mechanisms I paint a simplified reality, highlighting the effects of light and incorporating only a minimal amount of other detail. Rather than paint objects, I try to paint the light that they transmit or reflect. In the process, I strive for a slightly more stylized world: one defined by a light that lends beauty even to the gutters and haze of the city. ~ T.C.

Christopher Martin Hoff - Thinking about the word “Structure” triggers an endless list of associations, from the enormous projects we construct to the molecular arrangements from which we are built. As an urban “plein-air” landscape painter, I have explored how everyday structures influence us. The roads we travel, the buildings we occupy and the signs we read all serve as both background and performer. Hidden within a cracked section of pavement, a rust-stained dumpster or colorful graffiti are stories. By peeling back some of the extraneous layers of this urban fabric, my series of paintings invite the viewer to become a creative collaborator in assembling these stories. – CMH

Christopher lives and works in Seattle, Washington.

Andrea Schoening - My art is my mirror. I hope to find a better understanding of my self and the world by giving my instincts a vehicle and a medium. The finished painting is encrypted to the consciousness. It is a riddle that cannot be solved with the mind but only with the heart.
It is a road map the observer can decide to follow.
I believe that if colors, shapes and objects are arranged truthfully, as an honest reflection of the creator’s inner state, they can have an effect on the beholder and will resonate with their emotions. In this way, the person contemplating can discover the inner world of another human being on the basis of a first hand experience and connect.

I hope my paintings are enjoyable and a comfort to people just as they are enjoyable and a comfort to me. Ultimately, I hope they serve as a guide through the instability and volatility of human nature and life.- AS

Scott Teson - The city is a place where people, architecture, and fragmented pockets of nature – real and artificial – intersect. My work is about the profound and mysterious relationship between people and the surrounding environment of the city. I consider the buildings we construct, the signs we put up, the merchandise we display, and the materials we surround ourselves with to be a reflection of who we are, both culturally and psychologically.

We live in a unique time, one in which the artist is free to borrow from various styles and genres from the past as well as the present. I often combine references to a wide range of genres within a single painting. Classical Realism, Post-Impressionism, Abstract Expressionism, Pop Art, and Graffiti Art all rub shoulders with one another on the same canvas – not purely as a Postmodern strategy, but also because I want my work to reflect the incredible cultural and sociological diversity that can be seen in the city.

Borrowing from various stylistic sources in much the same way as a Hip-hop artist samples from other artists’ music, I not only pay homage to art history, but also create a kind of collaged space on the canvas to reflect our current “cut-and-paste” culture and the conjoined feelings of fragmentation and surprising connections that we in modern society often experience.

I think it’s intriguing how things often connect and overlap in subtle and unexpected ways. The desire to explore such associations is one of the motivating forces behind my work. What I find so fascinating, and what I try to include in my work, is the poetry of the ordinary, the underlying beauty of the various people, places, and materials that surround us. ~ S. T.

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