Sculpture at LA Louver presents us with a superbly eclectic blend of sculptural media which make concerted efforts at self-reliance in their craftsmanship. The media range from ceramic, wood, metal, stone, porcelain, in a range of intricacies in presenting what is best described as attempts at creating the beautiful idea. That permanently memorable extension which is attempting to strike at the soul of the onlooker. Such efforts at striking may involve the appropriate use of scale, such as in frogleg (1999-2000) 131”x55”x30” by Peter Shelton or Neptune (1988) 96 1/8” 24” x 20 ¼” by John McCracken. We do not have the vanity of grandiosity attributed to these particular works, for instance. But we do have a sense of stature which informs us of a weight that is impressed upon the subject’s mind; but in both works, this does not feel onerous in burden, but rather accomplishes the appropriate aim at magnificence.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

While a staunchly deep black yet clearly reflective work such as Neptune already has a precept of grandeur in its poise – that sense of unblemished, unvarnished, stern immaculacy that only a confidence black finish can pronounce – frogleg achieves its own pride however cheeky in presentation. Yet we are not to implicate a dichotomy between the stern and the levity of froglegs with its unmistakable relation to womanly form. The certainly innocuous fund in the beauty contained with the latter work informs us with the thought that scale does not need to intimidate, impose, domineer – though, Neptune is not seeking ominousness, either, as a mausoleum mast; not as a destroyer of light, but as a newfound mirror into life.

 

 

 

 

 

 

Blue Black House (2015) at 6.5”x8”x5” made with Urethane by Peter Alexander provides us with a sumptuous gelatinous translucency which is fun to enjoy the light’s peerage from different perspectives. Richard Deacon’s Tomorrow, and tomorrow, and tomorrow (1999) 72”x29”x27” in ceramic provides a serpentine swirl with its own sense of weight in the atmosphere. It is not bulky, in the least, though it is no inflatable turnstile with an earthy green which does not make a pretense to being vegetative. In its effort at avoiding a terrestrial style, we are given a transcendent form.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Flower Tree (2018) 51”x43”x20” by Matt Wedel provides an Oriental inspiration with an unglazed porcelain which is awash with burgeoning detail, demonstrating a high-art form of visible beauty. It is not simply in the fastidious refinement of the ends of these ornamental circumlocutions, as it includes the unglazed ridges which surround and nearly emulsify them; the appropriate lack of glistening draws us inward toward a more intimate appreciation of the craftsmanship. It permits us to not be distracted but instead we elect to discover the nuances of the artwork and its cloudy blossoming.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Last and certainly not least, Sui Jianguo’s Planting Trace – Constellation 11, (2018) 17”x 11 7/8” x 15 ¾” is a beautiful sculpture showcasing man’s ability to create transcendental media. While we may have an inspiration of a blossoming flower, it is merely in inspiration alone where the artist rightfully extends the natural object into one which is previously inconceivable. The appropriate silver choice helps position the artpiece with a sense of quietness in its frozen animation; the animation is nevertheless patent to observe; it is in this observation, however, where we are granted the ability to pause and reflect on the eternal moment that is beautifully captured. It is not a jarring artwork; there is no sense of voracity in the extension of the work; instead we have an idea of natural function, of acting according to design. The fact Mr. Sui Jianguo informs us with a design which is in accordance with Nature in principle, yet extends the idea, creates the physical demonstration of transcendence that humanity can achieve using its rational powers.

 

Is this not the aim of Fine Art? To make something permanently beautiful and worth remembering? LA Louver provides us with a plethora of examples with this amazing opening.

 

For further details, please contact the gallery:

L.A. Louver
45 North Venice Boulevard
Venice, California 90291
T: 310.822.4955
F: 310.821.7529
info@lalouver.com