Gallery SATORI is pleased to present “Invisible Duck Tape” a group exhibition of eight exciting artists whose work incorporate the idea or esthetics of amalgamation. The artists create visual mass-ups of objects and ideas that span from viral videos to Formica countertops.
Aili Schmeltz’s stra... Read more
Gallery SATORI is pleased to present “Invisible Duck Tape” a group exhibition of eight exciting artists whose work incorporate the idea or esthetics of amalgamation. The artists create visual mass-ups of objects and ideas that span from viral videos to Formica countertops.
Aili Schmeltz’s strange apocalyptic landscapes depict hybridized structures and blatant artifice of the city combined with the natural and man made environmental history of Los Angeles to create a complex topography that is beautiful and dramatic. Ruby Palmer’s improvisational “constructions” are at once minimalist and surrealistic architectural under-layers that embody a sense of passage to another place. The colored strips of wood glued together call to mind parquet floors to patchwork quilts to Malevich’s Suprematist paintings.
Similarly, Ivin Ballen uses fiberglass, Aquaresin and paint to recreate overlooked packaging materials into three-dimensional artworks that read as paintings. His humorous pro-capitalist castings of cardboard and plastic trash taped together to enclose a functioning stereo and speaker system will be on view for this exhibition.
Benjamin S. Jones’ sculptures and drawings combine seemingly unrelated images to produce dynamic assemblages that straddle the world in between fantasy and truth. From a brick house to a piece of ribbon flowing in the wind to motorcycle pipes, Jones engages in a power play of attraction and repulsion between objects that are joined together and frozen in a state of flux.
In a similar vain, Calvin Burton integrates natural landscapes and glaciers to allude to the land as spectacle. His visual interjection of anomalies in nature combined with his intense abstract brushwork and bright colors transform an A-frame cabin into an acid-colored pyramid floating on a muddy green pool under a bright pink sky.
Ethan Greenbaum’s 2-dimensional sculptural hybrids, on the other hand, integrate the urban landscape of graphic signs, commercial architecture, and digital displays to construct spatial abstractions that are devoid of structural purpose yet allude to a history of activity and use. Jeremiah Teipen’s work also references the current urban environment but in a very different manner. He investigates the global electronic social and information networks and the interplay between real spaces and virtual ones by relating the act of viewing and creating art objects to the act of surfing the net. He creates a browsable surface that incorporates a plethora of visual gluttony available on the web in a myspace format.
Vandana Jain appropriates and re-contextualizes corporate branding often into quasi-religious contexts like a mandala creating ritualistic spaces based on ad campaigns. Sometimes they are transformed into aura drawings that eventually expand and lose all of the idiosyncrasy and detail of the original shape.
