IPSUM
Neha Choksi, Houseplant and Sun Quotation 7, 2013
Sunlight on palladium treated paper paired with a digital image, 18 5/8 x 20 in. (47.3 x 50.8 cm)
NCHO002
Neha Choksi, Houseplant and Sun Quotation 5, 2013
Sunlight on palladium treated paper paired with a digital image, 14 3/4 x 20 1/2 in. (37.5 x 52.1 cm)
NCHO001
Neha Choksi, Sweetheart, 2010-11
HD video, color,stereo sound
6 minutes 12 seconds
Neha Choksi's oeuvre persistently presents a materially bound search for absence. Sweetheart, 2010-11, focuses on a sprig growing from the hollow of a missing limb on an ancient oak tree. It is shot at a cemetery. A good deal of the footage is indirect, reflected off an iconic black square which both reflects and absorbs the image of the sprig. The footage takes us from inside the hollow of the grand oak, out into the cemetery environs, and back again into the site of bodily loss. Structurally each attempt to distill the essence of this youthful sprig breaks down further until the artist's reflection punctures the picture. The eye cannot but settle, unsettle, and rest again. The productive tension between materialist impulses and mental constructs endows her work with a melancholy born of the impossible desire to be immaterial.
Edition of 4
NCHO004
Patricia Fernández, Objects from Walking, 2014
10 x 58 x 7 in. (25.4 x 147.3 x 17.8 cm)
PFER002
Patricia Fernández, Second Walk: CNFC, 2013
Oil on linen, 15 x 12 in. (38.1 x 30.5 cm)
PFER001
Patricia Fernández, 6-May, 2012
Oil on Canvas, 12 x 12 in. (30.5 x 30.5 cm)
PFER004
Patricia Fernández, May 10, waxing cresecent, 2012
Oil on Canvas, 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm)
PFER003
Patricia Fernández, Hendaye, 2013
Oil on Canvas, 16 x 14 in.
PFER005
Patricia Fernández, Halves (bouton d'or), 2014
Oil on canvas with walnut frame, 12 x 16 in.
PFER006
David McDonald, Supported Self #2, 2014
Wood, plaster, modeling compound, wood stain, enamel, paint, 30 x 14 x 14 in. (76.2 x 35.6 x 35.6 cm)
DMC002
David McDonald, Supported Self #1, 2014
Wood, plaster, mortar, wire, acrylic, woodstain, 46 x 19 1/4 x 12 in. (116.8 x 48.9 x 30.5 cm)
DMC001
David McDonald, Supported Self #4, 2014
Wood, plaster, enamel paint, 21 x 12 x 29 in. (53.3 x 30.5 x 73.7 cm)
DMC004
David McDonald, Supported Self #7, 2014
Wood, plaster, joing compound, wood stain, enamel, paint, 70 x 15 x 13 in. (177.8 x 38.1 x 33 cm)
DMC007
David McDonald, Supported Self #10, 2014
Wood, stone, acrylic paint, 54 1/2 x 12 x 16 in. (138.4 x 30.5 x 40.6 cm)
DMC010
David McDonald, Supported Self #9, 2014
Wood, plaster, joint compound and enamel paint, 45 x 13 x 8 in. (114.3 x 33 x 20.3 cm)
DMC009
Jeffrey Vallance, Blinky Carcass: Relic and Milagros (Performance Relic), 2007
Mixed media, 7 3/4 x 11 1/2 x 34 in. (19.7 x 29.2 x 1.9 cm)
JVAL005
Jeffrey Vallance, Friendly Hen Reliquary, 2008
Mixed media, 9 x 5 x 3 in. (22.9 x 12.7 x 7.6 cm)
On April 27, 1978, I went to the meat department of Ralphs supermarket and looked at chickens in plastic bags. I picked out a nice one and named it Blinky. Then I drove to the Los Angeles Pet Cemetery to bury Blinky. I ordered the complete funeral service – a lot, interment flower vase, blue plastic coffin with pink stain lining, viewing room and grave marker.
Ten years later, I arranged for the remains of Blinky to be exhumed and hired a lawyer, a doctor, and a scientist to determine the cause of Blinky’s death. Blinky’s bones were sifted through an archeological screen, her remains autopsied and her bones analyzed by a computer. Blinky’s bones were then reburied, except for the few bits that I saved as relics. The major first-class relicts of Blinky are preserved in the collection of Barry Sloane, Los Angeles.
JVAL002
Jeffrey Vallance, Relic Collection, 2008
Mixed media, 13 1/4 x 9 x 3 3/4 in. (33.7 x 22.9 x 9.5 cm)
Presented in a gold-and-white standing cartouche reliquary, this relic collection includes an assortment of holy medals, milagros, ex indumentis relics (third-class relic cloths), particle from the 9/11 Twin Towers terrorist attack, wood particle from Helena Elizabethkyrkan Church in Umea, particle from the Stockholm Cathedral, grain of sand from the grave of my friend artist Carols Almaraz in Hawaii, small round stone from the LBJ Ranch, metal BB from the Portland backyard, kernel of corn from the Blinky Shrine, soil from the Roman catacombs, Tibetan Buddhist relic, Soviet satellite Lunik 3 badge (1959), plastic gun from gumball machine, cameo from Vienna, tintype of unknown man, "Craxi" Italian political badge, bits of excavated backyard plastic objects, and a paint blob from my studio floor in Canoga Park (1991).
JVAL001
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