Los Angeles, CA - Felix art fair will return to L.A. for the third time, the week of July 26, 2021. At the same time as Felix, the City of Angels will host the first-ever Gallery Weekend Los Angeles, establishing L.A. 's network of art spaces in line with that of another city with a powerful gallery weekend, Berlin.
To honor this kind of teamwork, Assembledge+ and GROSSART in partnership with Cadillac is pleased to present ‘The Sun is the Same’ – a selection of paintings, sculpture, and prints by the region’s noteworthy emerging and established artists, taking place in the recently completed Laurel Hills Residence, from July 28 - August 1, 2021.
The salon-like show celebrates the relationship between art and architecture; a relationship that in the creative hotbed of Southern California is particularly relevant. Since art is most often enjoyed in your home, placing these works in the context of an exquisitely designed modernist masterpiece will provide an exceptional opportunity to see how these artists work in a less formal and more domestic environment.
Christina Craemer’s cascading waterfalls use a restrained palette and multiple layers to create the final imagery which is strongly based in the mystical ideas of the ever changing magic, power and beauty of the natural world. The work makes direct reference to the paintings of Pat Steir and Hiroshi Senju. The subtle washes draw out the majesty of the falls, while also giving acceptance to the power of nature as affirmed through the works of Frederic Edwin Church.
Placed both inside and outside the residence, the sculptures of Joe Davidson are a contrast between the airy and celebratory nature of the balloon and the blunt, immutable constant of gravity. The works of cast plaster and resin are totemic pieces that mix the delicate with the ordinary. They are contrasts in mass and lightness, solidity and absence, form and void, while also bearing reference to visual anchors such as bodily forms, sagging, or bloating.
Shane Guffogg’s practice can be described as a process of emptying and rebuilding. To start a work, he relies on his intuition as a starting point and lets go of conscious decisions. He then reacts and builds upon the previous mark in what one could consider a form of visual call-and-response. It is a methodology that necessitates a forced response in reaction to the previous action. This repetition of gesture stands in as an analogue to our daily lives, in which the vast majority of actions are done without thought or awareness.
Well known for his razor sharp political critique, Raymond Pettibon produces imagery in which ink that bleeds and blends combines with text that reflects the image, yet can also misdirect and expand. It is this push and pull between visual and text that makes his work vibrate with tension. This slippage between what you see, and what you read, forces one to cock their head as they gain an understanding between two different ideas battling for resolution.
Todd Williamson’s oils on canvas display a similar tension, yet it is one between order and chaos created through the interplay of colors and depth. Williamson’s work raises questions of subjectivity and our relationship to the living world where colors recede and emerge in a quiet battle of compression and release. The conflict created careens into the near-spiritual that could be a divide between two worlds or a fleeting thought, emotion, or scream.
It is a constant play at equilibrium and balance.
As we eagerly anticipate our resumption to normal life, many questions are at the forefront of our minds. What will become of us after the Great Pause has passed? How will we interact with our domestic and work environments? (Will there even be a distinction?) How will we interact with each other, or even with the art and beauty that surrounds us all? Only time will tell but in the meantime, The Sun Is the Same provides a glimpse into what that future might hold by examining works created in and around this “great pause” and displayed in a home that represents “normal” life.
Since its founding in 1997, Assembledge+ has been pursuing an architecture of enduring environments that are user-focused, innovative, and sustainable. The name Assembledge+ was chosen to convey the preeminence given to assembling the numerous elements of any project into a coherent, resonant whole. The + signifies an approach that looks to expand this whole, to allow for the emergence of an architectural solution that is greater than the sum of its parts. Located in Los Angeles, Assembledge+ follows the tradition of Southern California modernist design, creating elegant and seamless connections between indoor and outdoor spaces, extending daily living into nature.
Adam Gross is currently owner/founder of GROSSART, a consultancy dedicated to serving the fine arts and cultural organizations, and SPACE 1028. SPACE 1028 is a project space dedicated to the exploration and exhibition of provocative art for the people who need to see it. Previously, Gross was Executive Director of Art Platform–Los Angeles, sister fair to New York’s storied Armory Show, and was the Associate Director of Development for MOCA.
Assembledge+ | Andrea Klabanova | firstname.lastname@example.org
GROSS ART | Adam Gross | email@example.com