Bernar Vene t@ ACE : Los Angeles
 
"Venet's GRIBS, which begin as automatic, imprecise scribbles recorded on paper with finite precision, are transformed in a manufacturing process that is, in the same but opposite way, precise in the manufacturing but guided by something inherent and inexplicable in the natural constraints of the material." 

"Gribouillis": to doodle (a small mindless sketch)

"The GRIB sculptures act as living drawings. Two-dimentional drawings by Venet, quick, lose sketches, typically made on a glossy card, sometimes without his even looking, are then enlarged by computer to a plastic form, and are eventually transformed into giant, wall-mounting 3-dimentional steel structures. The inexplicable, frenetic movement of the artist's hand in the first stage of the process is akin to the surrealist concept of automatic writing and it is elevated as a meaningful gesture by their final, monumental scale.  The 1.5-inch steel plates used by Venet are torch-cut, a technique that adds to the unpredictable nature of the artist's "scribbles,"—"gribouillis" in French—and gives these works a rougher character that is less elegant and accessible than their relief predecessors.  The recent works are liberated from the control of his previous constructions. Where those accorded to precise mathematics, these give way to the inherent possibilities and proclivities of the material. Venet reflects, "my work at the factory is a game of natural constraints between my intentions and the material itself. Each orients the other and is oriented in its turn. By not changing its nature, I do not manipulate its appearance; that would involve creating artifices. In my sculpture, I am intent on keeping the energy of the atomic mass and its relationship to gravity, on respecting its singularity and its identity."

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studio vit
"The sea is a long, long way from me
 I'd go there if I had the time But lying here will do just fine" 

- the long days of summer feel beautifully intense.

"And still within a summer’s night 
A something so transporting bright
I clap my hands to see —"

"Globe lights is a collection consisting of small globe shaped pendants and large steel reflectors. The matt ceramic spheres can be used on their own, grouped together or to cast light on to reflectors in gloss painted metal. The collection explores how geometric volumes relate to each other and the juxtaposition of materials and lighht."

studio vit 
13 Sanford Terrace
 London N16 7LH 


follow me to the sea.

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Club Mood Swing : Stephen Aldahl 
June 15 - July 20, 2013 @ Young Art

"There was a time I call before
When all I knew was what I saw 
The keeper of a major key 
I lived in a town called liberty" 

I became aware of the works of Stephen Aldahl a few years ago, when I was invited to his studio to preview some works that would later become part of his 2011 "A, F, K, Q & Z" show at Young Art.  Young Art Gallery, sits on a small side street in Chinatown, LA, and owner Kate Hillseth curates some of the most understated shows in the city.  It's the sort of space you might walk past for years, before becoming aware of its presence. Aldahl's latest works on canvas have a similar sort of suddenness. His earlier works hinted at these larger beautiful abstractions, which now stand tall, slender, and quietly unfolding. Their presence calling to mind Hockney and Gallace, and other pastoral painters that chased light with steady determination and free hands.  A breakthrough of a show.  - David John  


"For Club Mood Swing, Aldahl presents a group of new paintings on door-shaped canvases accompanied by an installation.  The door, a practical structure designed for a body to enter or exit while also possessing the symbolic weight of a passageway between worlds, in this case imposes an immediate obstruction as the images portrayed in Aldahl's paintings seem to extend horizontally beyond the confines of the canvas. Amorphous forms of subdued color create scenes of disorienting pastoral landscapes, bodies colliding, and architectural structures against uncertain surroundings. Most traces of painterly expression have been suppressed and while these surreal pictorial compositions move toward representation, their final image remains suspended. Vaguely alluding to larger narratives the way a mural would illustrate great histories or epic sagas the paintings fail to intimate any story."

  
Young Art: Chinatown 
418 Bamboo Lane Unit B, 
Los Angeles, CA 90012

"But there's a full moon risin'
Let's go dancin' in the light 
We know where the music's playin' 
Let's go out and feel the night."

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Le Corbusier: An Atlas of Modern Landscapes

June 15–September 23, 2013 at MoMA

"So before seeing a single drawing, painting, or model by Le Corbusier, we are confronted with his death, but also with what is arguably the most personal of his projects..." - John Hill

 all photos by John Hill of Archidose

'When?' said the moon to the stars in the sky

'Soon' said the wind that followed them all  

'Who?' said the cloud that started to cry - The Proposition

"Before walking through the sliding glass doors to the first section of the exhibition, the visitor comes across a full-scale interior (the first of four interiors specially built for the exhibition) of the Cabanon Le Corbusier built in Roquebrune-Cap-Martin, France. One wall of the small, single-room cabin is removed to reveal the intricately designed interior; a small window reveals a drawn landscape, the same distant shore where he drowned in the summer of 1965. So before seeing a single drawing, painting, or model by Le Corbusier, we are confronted with his death, but also with what is arguably the most personal of his projects, so seemingly unlike the houses and urban plans he has long been associated with." - John Hill via World Architects

"MoMA presents its first major exhibition on the work of Le Corbusier (Charles-Édouard Jeanneret, 1887–1965), encompassing his work as an architect, interior designer, artist, city planner, writer, and photographer. Conceived by guest curator Jean-Louis Cohen, the exhibition reveals the ways in which Le Corbusier observed and imagined landscapes throughout his career, using all the artistic techniques at his disposal, from his early watercolors of Italy, Greece, and Turkey, to his sketches of India, and from the photographs of his formative journeys to the models of his large-scale projects. His paintings and drawings also incorporate many views of sites and cities. All of these dimensions are present in the largest exhibition ever produced in New York of his prodigious oeuvre." 
- via MOMA

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