Luis De Jesus Los Angeles is very pleased to announce our participation in UNTITLED, ART Miami Beach OVR. The online fair will run from December 2-6, 2020, with a VIP Preview on Tuesday, December 1, starting at 11am EST / 8am PST. To attend the fair and enter the Online Viewing Rooms, please register here.
The Gallery will present three new limited editions by Nicolas Grenier, new paintings by Chris Barnard, selections from a new and ongoing series by Edra Soto, and new paintings and sculptures by Kambui Olujimi.
Nicolas Grenier creates artworks that translate theoretical and philosophical queries into visual and physical form in order to critique and reimagine political, economic, cultural, and social landscapes. For UNTITLED, ART Miami Beach OVR Grenier has created three new limited-edition prints. Recognizable for their meticulous crafting and seamless gradations of contrasting color and light, Grenier’s works use abstraction and design to create the illusion of logic and destabilize narratives of power, while signaling the imperative need to develop new systems that account for a plurality of visions, values, and perspectives. It's worth noting that these digital images and prints are not a by-product of his paintings; they are the primary step in his creative process and each has been generated over a period of weeks or months through a thoughtful and continuous revision of the drawing, design and color.
Chris Barnard’s paintings propose a reassessment of contemporary painting in which the evolution of painting is linked to moral progress. Over the course of his career Barnard has grappled with the connections and gaps between painting and contemporary socio-political events, focusing on the manifestations of American exceptionalism and its consequences on various cultures and environments—racial inequality, environmental degradation, state-sanctioned violence and war. Imagery often vies with formal aspects for the viewer’s attention, mirroring the inherent conflict between an artwork’s subject matter and its representation. In these new paintings, current events are set within an art historical context (a sculpture of Serena Williams towers over the French History Painting room at the Louvre and a climactic UFC moment is superimposed into a Joan Mitchell exhibition), alluding to the misogyny and toxic masculinity that pervade culture and society as a whole.
Interdisciplinary artist Kambui Olujimi challenges established modes of thinking that commonly function as “inevitabilities.” When Monuments Fall (2018-ongoing) is a series of paintings that examine the precarious position of Modernist monumentality and its atemporality. The work intersects with national conversations around the recontextualization, amendment, and removal of monuments, and uses veiling as a launch point within the work. The draped statue, waiting to be uncovered for the first time, is full of promise, potentially commemorating the achievements and values cherished by its community. The tarped statues is an abstracted mistake, waiting for erasure, and is estranged from its community. The Killing Time wall sculptures (2017-2019) function visually within the language of map making and migration while reflecting on the power to restrain and to restrict movement. Handcuffs, chains, jewelry, and other unexpected materials invoke ideas of mass incarceration, fetish, cartography, and spatial dislocation.
Edra Soto’s projects are motivated by civic and social actions, often prompting viewers to reconsider cross-cultural dynamics, the legacy of colonialism, and personal responsibility. Let Love Win (2020) is a personal stand for the current social justice movement and features portraits of hundreds of African American victims of police brutality embossed onto shaped metal—or votives, inspired by Mexican and Latin American milagros. Open 24 Hours (2016-ongoing) is a literal observation of the ground around the artist’s underserved neighborhood in Chicago. Since 2016, Edra Soto has turned her daily dog walks into what she has likened to urban beachcombing: collecting discarded liquor bottles. The artist strips her findings of their branded labeling and plays up the simple elegance of the bare bottles by displaying them on decorative panels inspired by the painted wrought-iron screens that commonly adorn homes in her native Puerto Rico. Open 24 Hours traces a long history of cultural marginalization, exchange, and revival, and explores notions of colonialism, migration, visibility and invisibility.
For further information and inquiries, please contact us at 310-838-6000, or email: firstname.lastname@example.org.