Coloring Between The Lines; A Solo Art Exhibition By Serge Armando
| Date: |
Wednesday, July 7, 2010
|
| Time: |
6:00pm – 9:00pm
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| Location: |
Edgar Varela Fine Arts (EVFA)
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| Street: |
102 West 5th Street
|
| City/Town: |
Los Angeles, CA
|
Description
(Color) Between The Lines
A solo exhibition by Serge Armando
Edgar Varela Fine Arts
102 West 5th Street, LA CA 90013
July 7th, 2010 – August 12th, 2010
Artist Reception
Wednesday, July 7th, 2010, 6pm-9pm
Gallery Hours: Wednesday-Sunday 12pm-6pm
Serge Armando
Born in Nice during a period of Existentialist post-war France, Serge Armando, from his earliest days, was steeped in a backdrop of the blue skies of la Côte d’Azur. From proximity, his way was ushered into first hand experience with Flux and Les Nouveaux Realists.
In 1971 Serge moved to the United States. Like many pure abstract artists of the late twentieth century, Armando regards the non-objective as a visual language–still in its infancy–whose potential equals that of representation.” In this way, Armando’s works are invitations for viewers to impose upon them their own visual idiolects, complete with their own experiential lexicons which have arisen from the viewers’ own distinct inventories of “heres” and “nows”. Armando’s latest works are, as always, iconic and kinetic. The works document his lifelong immersion in competitive systems of organization. Each work of the series propagates squarely steadfast abstract geometric immediacy.
Edgar Varela Fine Arts is dedicated to bringing new and exiting emerging artist to the spotlight. EVFA has a gallery located on 5th and Street in the heart of Gallery Row in Downtown Los Angeles. The gallery space is open from Wednesday to Saturday from 12pm to 6pm and by appointment. For more information call Edgar Varela at 213-604-3634, e-mail at edgar@edgarvarela.com or visit www.EdgarVarela.com
In photographs, and even in person at a slight distance, certain of Ashley Gibbons’ images might be mistaken for painting — and not just any painting, but the masculine non-representation of 20th-century modernism, from abstract expressionism to constructivism. And in truth, the deliberate, sophisticated, and patient way in which she composes her colors, patterns, and textures is quite lively and gestural; but there’s no paint. Only panties. Stretched, layered, and sometimes lacy, these works want for nothing in terms of the movement, wit, or the imposing beauty Pollock chased. When Gibbons continues her radicalization of traditional (aka female) crafts and takes up embroidery, it has to do with forceful sexual narratives and dreamy surrealism. While that might put you in mind of New York’s Orly Cogan (who is also showing in LA right now), the truth is they only share the needle; where Cogan deconstructs an aesthetic of sweetness and virtue, Gibbons’ stitched work is raw and lascivious. 
