Opening reception: Saturday, January 9, 6 - 10:00 pm
“A similar effect” is an exhibition of new photographs by Los Angeles based artist Caroline Clerc. Formed during an artist residency in Norway, this work posits landscapes. Photographs taken from walks are reconstructed to create new artificial, yet familiar, landscapes. The vista becomes abstract as the landscape is formed anew; the photograph is realized as collapsed sculptural space. This work points to the history of painting and landscape photography, exploring the landscape as a complex site of recognition and cultural construction in which the perspective fluctuates between the unstable and the coherent.
Caroline Clerc is a Los Angeles based artist and educator. Her work has been exhibited in Los Angeles and nationally. Her MFA is from University of California, Santa Barbara. Residencies include Obracadobra, Oaxaca, Mexico; Millay Colony for the Arts, New York; and the Nordic Artists’ Centre Dale, Norway.
Exhibition supported by Nordic Artists Centre Dale.
Jan 2 - Jan 30, 2016. The exhibition will be on view Saturdays, 12pm-4pm and by appointment.
Opening Reception: Saturday December 12, 7-10pm
This exhibition is rooted in the action of observing and responding. We think of Elephant not as an empty space to be filled, but as a place imbued with the energy of its resident artists and of all those that congregate each month to take in curious objects.
Colors, patterns, gestures, and forms are taken up, turned over, and reflected in Aliabadi and Peck’s sculptures and ephemera that briefly inhabit the space. There will be many places to start and no points of origin. As they create from within and among the frames of the gallery, the lived space, the neighborhood—bringing the outside in and putting the inside out—Aliabadi and Peck also build on each other’s practices, maintaining fluidity and flexibility as one acts and reacts to the moves of the other. A kind partnership. A progressing interaction.
Aliabadi and Peck’s work reflect a site-responsive, back and forth process where gestures reflect, influence, and generate each other. The artists use each other’s practices as frames for their respective installations. Both separate and together, their works reveal precarious testaments to the gallery space.
The exhibition will be on view Saturdays, 12pm-4pm and by appointment. www.elephantartspace.com
Opening reception: Saturday, October 10th, 5-8
A new text based installation that will span the space of the elephant art gallery.
September 4 - October 2, 2015
Opening reception: Sunday, September 13, 3 - 6 pm (Micheladas and BBQ)
Special performance by Ghanaian Xylophonist SK Kakraba promptly at 6 pm.
In his new body of work, Funk City, Leonardo Bravo stretches elements of scale and a complex visual vocabulary to explore states of fluidity, transition, and continuous movement. The individual works point to the constructs of the urban environment; the inherent tensions, pressures, and counter logic that form narratives of individual and collective loss. Yet they also position these as sites of unfettered liberation, boundary traversions, and ultimate shape shifting. Through the inherent tension between lines, colors, and space the works in Funk City are akin to visual mappings or wall markings calling forth a collision of histories, voices, imaginings, and incantations. Although these works are not by themselves illustrations of a rich source of inspiration, they function as evocations to be read, suggestive of a complex and compelling symbol system.
Leonardo Bravo's paintings draw upon the language of modernist geometric abstraction through complex structures and systems in saturated colors that suggest a constant state of becoming and unfolding. These works take their cues from a variety of sources including Bauhaus master weavers Gunta Stolzl and Ani Albers, the wall drawings of Sol LeWitt, the works of Brazilian artist Helio Oiticica, and traditional South American woven tapestries. Inherent in these structures is the visual tension suggested by the relationship of each color form to the other, and the way in which negative space becomes a counterpoint to each fixed form. The complexity of these structures suggest an architecture of time and space in which forms continue to build and collapse upon each other, emanating new relationships, and suggesting pathways that open up to limitless possibilities, questions, and complexities.
Born in Santiago, Chile, Leonardo Bravo earned his BFA from OTIS Institute of Art & Design and MFA from the University of Southern California.
The son of the world renowned master xylophonist Kakraba Lobi, S.K. Kakraba Lobi undertook traditional training in xylophone from a young age. He was a xylophone instructor at the International Centre for African Music and Dance, University of Ghana, Legon and a member of Hewale Sounds.
The Gyil is an important instrument among the Lobi, Sisala and Dagara people of the Upper regions of Ghana, who employ them for both funerals and festivals and one of the grandparents of the mallet keyboard family. It is made from fourteen wooden slats that are suspended, on a frame, over calabash gourds. Its sound is like the Western marimba, yet more "earthen” in character. It is the national instrument of the Lobi and Dagara people of Ghana, Burkina Faso and Cüte DÃIvoire.
Throughout West Africa, the people believe that its “woody” sound comes from a vibration of water that physically balances the water in the bodies of humans and animals.
Weekend gallery hours by appointment. Email Leonardo Bravo at email@example.com
Opening Saturday, August 8, 6-10pm
Gallery Hours: Saturdays & Sundays 1-4 pm
And by appointment: firstname.lastname@example.org
Pulsating forces crashing against our temples, all objects and space vibrate with a nauseating fourth dimensional steam.
Scanning the room, we search for an anchor to balance the clashing forces between static and variable.
Look. Look. Survey.
Arresting our eyes on the water damaged surface along the wall, we continue propelling our bodies as oscillating vehicles that resist the fixed and unfixed.
<< spinning & spinning >>
Each revolution condenses the field between watermark and space. Spot…Spot…Spot.
Suspended fields between macro and micro, our vision agitated between the hazy and focused.
“Do we need a better prescription?”
Untethered by this erosion between source and loop, we throw our bodies against gravity. Spiraling into blurred points of intrusion, the watermark burns into our optics.
by Matt McAuliffe
Opening Friday, May 8, 7-10pm
On view by appointment, May 8-30
Secret Menus is an exhibition presenting a recent body of work by Minneapolis based artist Matt McAuliffe. The show will feature new objects, paintings and photography. McAuliffe continues his work recontextualizing objects and events to bring out latent and new narratives and multiple readings. For Secret Menus McAuliffe presents a constellation of work that interrogates subversive social desires of an individual and their role in a society that attempts to normalize and regulate them.
McAuliffe has been featured in shows at Yale University’s Green Gallery, The Suburban in Chicago, Samson Projects in Boston,The Bindery Projects in Minneapolis and Art of This in Minneapolis. He has curated shows at Julius Caesar Gallery in Chicago and Bindery Projects. He most recently participated in the show “A Study In Midwest Appropriation” curated by Michelle Grabner that also will have a forthcoming book accompanying it to be released by Poor Farm Press with essays by Grabner and conversations with the participating artists.