Liz Larner Exhibition Opens Today at Regen Projects

Liz Larner, i (subduction), 2013. Ceramic, epoxy, and pigment.
20 x 39 1/4 x 8 3/4 inches (50.8 x 99.7 x 22.2 cm).

Liz Larner

Todya, January 11 - February 15, 2014

Gallery hours: Tuesday - Saturday, 10:00 am - 6:00 pm

Press preview with the artist: Friday, January 10, 11:00 am

Opening reception: Saturday, January 11, 6:00 - 8:00 pm

Regen Projects presents an exhibition of new sculptures by Los Angeles-based artist Liz Larner. The exhibition brings together her recent navigations of geological poiesis, fissures, folds, curves, and reconfigurations, and includes wall-mounted ceramic slabs, a large stainless steel X sculpture, two paper-based planchette pieces, early photographs, and a new "culture" sculpture. Larner has shown at Regen Projects since 1989, and this presentation marks her seventh solo exhibition at the gallery.

Larner's ceramic sculptures evoke telluric interruptions from the geological depths: caesura, subduction, inflexion, mantle, and passage. The ceramic forms support richly chromatic surfaces reminiscent of the earth's shifting crust. The resulting objects hover in front of the wall, and are painterly and sculptural at once.

The exhibition features X, a large stainless steel sculpture that follows from earlier works also using this motif. This open form encases the contour of an unidentified, solid object. Combining digital modeling technology with traditional modes of sculpture, X continues Larner's investigation into open form and the use of line to create volume.

Other large format sculptures include two planchettes, one free-standing and the other wall-mounted. Furthering Larner's interest in the dialogue between color and form, the sculptures initially appear homogenous, while on closer inspection reveal varied surfaces and textures, creating spatial ambiguity. Embodying forms both anthropomorphic and geometric, the sculptures have a visual density that is at odds with their material constitution. The planchettes shift, transform, and refract depending on the viewer's physical relation to the work.




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by Barry Kostrinsky