In conjunction with “Gas Giant” opening at the MOCA in LA this weekend, Jacob Hashimoto is currently presenting a collection of his installation’s studies at Martha Otero Gallery. The studies represent the work’s blueprint and inspiration. Hashimoto reimagined the large-scale work for its latest showing at the MOCA since its previous iterations at Rhona Hoffman Gallery in Chicago in 2012 and Fondazione Querini Stampalia in Venice, Italy in 2013. In their simplicity, Hashimoto’s drawings may be deceiving. They are a precursor to a wondrous landscape made entirely by hand from the most basic materials, such as wood, paper and string. In addition to the blueprints are beautifully rendered graphite patterns on paper echoing influences from artists like Agnes Martin and Jessica Stockholder.
For her upcoming exhibition at LA’s Gusford Gallery, “Complex Candy,” Dorielle Caimi depicts nudes that evoke the Dutch Golden Age and High Renaissance posing with snakes and contemporary props like donuts. Her humorous compositions place a psychological lens on the societal pressures that confront women in today’s society. In Concave, a stern-looking woman with disheveled red hair, strong shoulders, and prominent raised eyebrows clasps her hands around the head of an enormous screaming child. Set against a vibrant yellow background, the portrait forcefully presents the complexities of motherhood. Similar themes of childbearing are present in The Weight, in which a giant stork sits atop a young woman’s head while she solemnly gazes at the viewer with tired eyes.
Artist Bruno Catalano‘s rather large series of life size bronze sculptures is poetically titled Travelers. The group of sculptures depict very different people but each walking with suitcase or bag in hand, a few sitting on their luggage. However, large swath’s of each person’s body is missing as if disappearing or torn away, the sculpture somehow still able to stand. While the subjects are clearly literal travelers, they also to appear be traveling in some symbolic sense. The sheer number of sculptures almost resemble a human migration, a sort of shared journey. It may be that Catalano’s Travelers search for a personal fulfillment illustrated by a literal emptiness. See more of Bruno Catalano’s sculptures after the jump.
Though Nick Cave’s Sound Suits appear whimsical with their mishmash of colorful, festive-looking materials, the unconventional, wearable sculptures have a less joyful origin story. Cave, who began his career as a dancer for the Alvin Ailey American Dance Theater, created his first suit in 1992 in reaction to the infamous Rodney King beating. The suit represented a sort of armor to the artist. In his interview in Hi-Fructose Vol. 20, Cave discussed the unexpected psychological transformations that occur when performers don the ornate outfits. The weighty Sound Suits change the wearer’s relationship to gravity, he explained, and alter one’s physical interactions with the world. The Chicago-based artist currently has an exhibition at The Institute of Contemporary Art, Boston. The exhibition will be on view through May 4. Take a look at some photos from the show after the jump.
Lee Jinju (featured in Hi-Fructose Vol. 27) recently made her New York debut with a solo show at DOOSAN Gallery. Though today is the last day to view the exhibition, we bring you a look at some of the works in the show for those who did not make it in person. Working with traditional Korean watercolor techniques on linen, Lee creates poetic, surreal landscapes full of minute details that invite the viewer to scour the artworks for puzzle pieces to Lee’s strange narratives, or lack thereof. While the paintings appear to have implicit story lines, they are inspired by fragments of memories that don’t always have logical connections.
Bay Area-based painter and photographer Sam W. Grant will be displaying new works from both sides of his creative practice at his upcoming exhibition “Double Vision,” opening March 7 at Loakal Gallery in Oakland. Although the paintings and photographs in the exhibition play up the classic atomic household and other images of mid-century nostalgia, Grant considers the two processes to be very different.