Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Plainly to Propound, GAVLAK Los Angeles
Michael John Kelly, Love Rhymes , 2014

Michael John Kelly
Love Rhymes , 2014
Oil, acrylic and pigment print collage on panel with artists wallpaper
64 x 80 inches  (9 panels)
162.6 x 203.2 cm

Aaron Sandnes ​Lock and Load (Double Tap or Controlled Pair) (Red then Blue; Red then…), 2014

Aaron Sandnes
Lock and Load (Double Tap or Controlled Pair) (Red then Blue; Red then…), 2014
Ink on paper
26 1/4 x 26 1/4 inches
66.7 x 66.7 cm

Michael John Kelly, Take the Planet, 2014

Michael John Kelly
Take the Planet, 2014
Oil, acrylic and pigment print collage on panel with one channel video installation
80 x 60 inches
203.2 x 152.4 cm

Aaron Sandnes, Interest of the Strong (Thrasymachus) - BLUE, 2014

Aaron Sandnes
Interest of the Strong (Thrasymachus) - BLUE, 2014
Neon, spray paint, neon transformer
53 x 30 inches
134.6 x 76.2 cm

Michael John Kelly, Can't Tell Me Nothing, 2014

Michael John Kelly
Can't Tell Me Nothing, 2014
Oil, acrylic and pigment print collage on panel
80 x 122 inches
203.2 x 309.9 cm

Lily Stockman, Crushed Mussels, 2014

Lily Stockman
Crushed Mussels, 2014
Oil on birch
12 x 9 inches
30.5 x 22.9 cm

Lily Stockman Shorebirds, 2014

Lily Stockman
Shorebirds, 2014
Oil on handwoven linen
16 x 12 inches
40.6 x 30.5 cm

Lily Stockman, Oysters, 2014

Lily Stockman
Oysters, 2014
Oil on handwoven linen
16 x 12 inches
40.6 x 30.5 cm

Allison Miller, Equator , 2014

Allison Miller
Equator , 2014
Oil, acrylic, pencil and collage on canvas
30 x 26 inches
76.2 x 66 cm

Allison Miller, Fogsmokesteam, 2014

Allison Miller
Fogsmokesteam, 2014
Acrylic, Flashe, modeling paste, archival marker and pencil on canvas
48 x 48 inches
121.9 x 121.9 cm

Allison Miller, Blotter, 2014

Allison Miller
Blotter, 2014
Acrylic, Flashe and pencil on canvas
30 x 28 inches
76.2 x 71.1 cm

Allison Miller, Doubles II, #2

Allison Miller
Doubles II, #2, 2014
Mixed media on paper
18 x 24 inches
45.7 x 61 cm

Allison Miller, Doubles II, #18, 2014

Allison Miller
Doubles II, #18, 2014
Mixed media on paper
18 x 24 inches
45.7 x 61 cm

Allison Miller, Doubles II, #41, 2014

Allison Miller
Doubles II, #41, 2014
Mixed media on paper
18 x 24 inches
45.7 x 61 cm

Allison Miller, Doubles II, #47, 2014

Allison Miller
Doubles II, #47, 2014
Mixed media on paper
18 x 24 inches
45.7 x 61 cm

Derek Paul Boyle, Plaster cast trash painting (trash bin behind Sanamlaung), 2014

Derek Paul Boyle
Plaster cast trash painting (trash bin behind Sanamlaung), 2014
Acrylic, plaster, and detritus on canvas
12 x 16 inches
30.5 x 40.6 cm

Derek Paul Boyle, Plaster cast trash painting (trash bin behind 1800 Kingsley), 2014

Derek Paul Boyle
Plaster cast trash painting (trash bin behind 1800 Kingsley), 2014
Acrylic, plaster, and detritus on canvas
12 x 16 inches
30.5 x 40.6 cm

Derek Paul Boyle, Larchmont Blvd, 2014

Derek Paul Boyle
Larchmont Blvd, 2014
Dragged stretched canvas
30 x 48 inches
76.2 x 121.9 cm

Derek Paul Boyle, Waring Ave, 2014

Derek Paul Boyle
Waring Ave, 2014
Dragged stretched canvas
30 x 48 inches
76.2 x 121.9 cm

Derek Paul Boyle, Gower St, 2014

Derek Paul Boyle
Gower St, 2014
Dragged stretched canvas
36 x 24 inches
91.4 x 61 cm

Derek Paul Boyle Kingsley Dr, 2014

Derek Paul Boyle
Kingsley Dr, 2014
Dragged stretched canvas
36 x 24 inches
91.4 x 61 cm

Michael Manning Parsnip Risotto with Garam Masala, 2014

Michael Manning
Parsnip Risotto with Garam Masala, 2014
Digital Print on Canvas and Acrylic
72 x 96 inches
182.9 x 243.8 cm

Michael Manning, Pineapple Caprese Salad Skewers, 2014

Michael Manning
Pineapple Caprese Salad Skewers, 2014
Digital Print on Canvas and Acrylic
72 x 96 inches
182.9 x 243.8 cm

Michael Manning, Paneer Lasagna, 2014

Michael Manning
Paneer Lasagna, 2014
Digital Print on Canvas and Acrylic
72 x 96 inches
182.9 x 243.8 cm

Plainly to Propound

Gavlak Los Angeles

January 10 – February 14, 2015

GAVLAK is pleased to present a group exhibition of abstract painting, sculpture, and video by Derek Paul Boyle, Michael John Kelly, Michael Manning, Allison Miller, Aaron Sandnes, and Lily Stockman.  Each of these artists take a vastly different approach to the canvas–be it on the floor, outside on the street, or through the use of a computer. Together, these painters portray the breadth of Los Angeles: the driving culture, landscape, popular culture, political climate, city grid, waste, or the pieces of a whole.

With such varying conceptual impetuses, similarities can be found in all of the artists overall formal approaches to the medium of painting. In their attention to layering, both Allison Miller and Michael John Kelly employ individual sections of which combine into a larger work verging on installation–with each component intricate and complicated in and of itself. Lily Stockman and Michael Manning both use layering to achieve texture in completely different ways. For Manning, a clear coat is painted on top of his printed canvas to give the illusion of brush strokes-not unlike Warhol's paint strokes broadly applied over screened images. For Stockman, the canvas is first birched, primed, and sanded in order to create a completely flat surface, after which she paints the canvas on the ground–both techniques that allow her to achieve such straight lines.

As Los Angeles is the media capital of the world, performance seeps into all aspects of life-including abstraction. For Aaron Sandnes, abstraction is a vehicle for social and political commentary-specifically on the timely issues of police brutality as well as race and class relations in America. The artist juxtaposes the manufactured neon signs that are ubiquitous throughout the storefronts of Los Angeles with the hyper personalizing "tagging" that adorns the same landscape. Just as Sandnes' works borrow from the imagery of the streets, Boyle's paintings are made by driving along some of the most famous roads in Los Angeles while dragging a primed canvas behind him. Larchmont Blvd.Waring Ave., and Gower Ave. are Arte Povera-style paintings that have been created by being scrapped, torn, and scuffed.

The title of the exhibition comes from the 1942 poem by Wallace Stevens, "Notes Towards a Supreme Fiction." In the first section, "It Must Be Abstract," the poet leaves us with the final thought that abstract art should exist "plainly to propound." In this poem on the nature of poetry, Stevens speaks of the idea replacing what we think of as the image. Just as Stevens disregards literal interpretation for a more "pure" concept, these artists take what is concrete and make it ethereal. We must take their unique textures, their complex planes, and their layered sheen and we must look for the sake of seeing what's there–plainly to propound.