A DELICATE TOUCH
James Buss, Steve DeGroodt Shirley Tse, Jae Hwa Yoo
in Galleries 1 & 2
McDONALD AND POTTER
David McDonald and Carter Potter
in Duo Solo Exhibitions in Gallery 3
July 25 - September 4, 2021
Sunday, July 25 from 2-6pm
Masks and Social Distancing Required
JULY - AUGUST EXHIBITIONS
July 25 - August 28, 2021
PRJCTLA is hosting its third group of exhibitions in July-August, 2021 in two separate shows.
Gallery 1 and 2 gallery will host a group exhibition titled A DELICATE TOUCH with three Los Angeles based artists Steve DeGroodt, Shirley Tse, Jae Hwa Yoo and James Buss (from Texas).
Gallery 3 will be showing the works of David McDonald and Carter Potter in a duo-solo exhibition titled McDONALD AND POTTER, both artists are LA based and mostly work in non traditIonal materials.
In addition to its downtown gallery space, PRJCTLA continues to have a strong online presence on Instagram (@prjctla), on the gallery website (www.prjctla.com) and on a 3D platform that is accessible through the gallery’s website.
GALLERY ONE AND TWO
A DELICATE TOUCH
A DELICATE TOUCH features a mixture of pantings and sculpture in a group exhibition that includes artists James Buss, Steve DeGroodt, Shirley Tse and Jae Hwa Yoo. Although these artists come from a varied backgrounds they find common ground in their interest the subtle interplay of the material.
Buss, DeGroodt, Tse and Yoo all emerged in the LA art scene during the later part of the 1980’s and into the 1990’s in a period where the experimentation was an artist’s primary goal especially in the use and interpretation of material.
James Buss is formerly from Los Angeles where he spent most of his art career since attending CalArt in the mid 1980’s. Although he moved to Texas a few years ago his “artistic” style is most closely related to his time in Los Angeles.
Buss’ works are subtle in nature. He places marks or gestures on a variety of materials though different processes. In some cases it may be an imprint on plaster in others a reflection on a shiny surface or paint and ink transferred onto paper, each creating their own impression as if it was the artist’s own fingerprint or signature marks the surface.
The initial gesture and imprint are important to his work, also the forensic properties of plaster as a medium of empathy and mimesis. The materialization of textual metaphor through casting and monotypes is a critical to his studio practice.
Steve DeGroodt is a Los Angeles-based artist known for his use of common material which often references music and language. Steve is also a musician and he often uses this background as an influence in his work.
DeGroodt’s works are lyrical and poetic created from an interplay of color, surface and shape. His use of materials, often simple in nature, creates relationships that references the Psyche, as if the inherent quality of the material bears its own internal cognitive history.
Born in Hong Kong, Shirley Tse, has been a Los Angeles-based artist since she attended graduate school at ArtCenter in the mid 1990’s. She emerged from a group of Los Angeles-based artists known for their use of alternative materials and subtle approach. She continues to evolve her practice behind these same principles creating more and more complex visual narratives.
Her works are poetic especially in the manner in which she blends the diverse range of materials. Some pieces are small sculptures while others are large in scale both however have similar interests in their material presence.
One of Tse’s most ambitious projects was large scale installation she made for the Venice Biennale in 2019 in which she represented her birth country of Hong Kong. The project included a room size installation of wooden sculpture mixed with 3d prints.
Jae Hwa Yoo is a Korean born artist who has made Los Angeles her home for the last several decades. She attended art school both in Korea, at the renown Kong Ik University in Seoul, and at Los Angeles at California State University of Los Angeles where she received her MFA.
Yoo has embraced the blend of her artistic experience creating wonderful paintings whose roots can be found in both the Tansaekhwa movement from Korea and the minimalist movement in the US.
Yoo creates primordial, space-focused painting installations in which seemingly compulsive and assertive, yet meticulous and meditative marks and erasures, combine to reveal an abundant wholeness and presence residing in apparent emptiness.
Her works are painted on unstretched canvas on which she places hundreds to thousands of little marks; delicate little touches plastered across the canvas in subtle patterns. The pantings are installed in a very particular manner; each work is pinned to the wall exemplifying their material presence.
The largest paintings are often installed not taught to the wall but rather have a little kink them toward the top middle of the canvas. In doing so the painting has the smallest almost indiscernible wave in it, this wave slightly breaks the pattern of the multitude of marks creating a moire pattern in the painting, activating it surface.
This breaking of the pattern acts as a wonderful metaphor of her dualistic artistic background.
David McDonald’s artworks fuse the art of the readymade with assemblage, Minimalism, and Postminimalism. Composed of unremarkable materials such as raw and painted wood, bricks, paper, cement, and plaster. His sculptures propose an aesthetic rooted in the organic and handmade and their off-kilter compositions suggest a tension between order and chaos.
McDonald has works included samples from several bodies of work in this exhibition, and while the visual qualities vary, they all share a belief in process and intuition as a way of developing work. In addition, they all share an additive process whereby the elements are made and then come together at a later stage in the development of the work.
The Light series is one of the sequences he has included in the exhibition. The body of work is composed of pieces that were made in a single pour of hydrocal into a mold. The hydrocal, a type of white gypsum, is colored by concentrated watercolors before it is poured. Due to the inherent vaporous qualities of watercolor the pieces have the contradictory appearance of being solid shapes and mass but with ephemeral surfaces.
McDonald has also included two larger (55 inches tall) pieces in the show that are a continuation of a group of pieces he has developed over the past two years. They also are accumulations of events and materials that are brought together later in the process of making. These two pieces also play with light and transparency and have a seeming fragility to them.
The wire works on the wall are made from cannibalized pieces from previous works. In a sense he uses his own older and destroyed works as a type of found object that brings a sense of character and history to new pieces.
All of these works use natural light as a component of the piece, either by moving through the works or by activating the surfaces. The seeming solidity of the sculpture coupled with the ephemerality of the play of light on the surfaces creates an interesting contradiction that gives the works a certain tension.
While known primarily for his Film Paintings, Carter Potter’s sculptural works have always been an important element to his artistic practice. He explores the ideas of beauty and despair inherent in the discarded couches and other furniture he finds on his way to the studio, or on walks in his neighborhood.
His practice includes re-contextualizing these objects through changing their normal orientation and/or stripping them down and then presenting them in galleries. Sometimes he makes paintings from the stripped fabric as well.
When Potter first visited PRJCTLA and saw Gallery Three - he described it as: “secluded, no windows, a high ceiling with skylights and floodlights, a concrete floor with a ramp, and doors and details with unknown functions”, he immediately thought of it as a torture chamber, albeit a gorgeous and aestheticized one.
The rawness of the space provides a perfect platform for his work. Potter describes it as a match made in heaven for an exercise in hell. Or is it the other way around? The viewer can decide.
PRJCTLA is pleased to present a diverse range of exhibitions creating a collaborative relationship with artists and other exhibition spaces.
For more information please contact Carl Berg at firstname.lastname@example.org.