Sherin Guirguis
David Adey
Ghost, 2024
Laser-cut paper, flourescent acrylic and pins on pvc foam panel
54 x 120 x 3.5 in (137.2 x 304.8 x 8.9 cm)
David Adey
2,127 Rounds, 2019
2,127 rounds, fired from an AR-15 rifle, a Glock 34 handgun and a 12 gauge shotgun into a bundle of western red cedar, one shot short of collapse
96 x 18 x 18 in (243.8 x 45.7 x 45.7 cm)
David Daigle
The Mouth of Truth, 2024
Paper bus shelter advertisment (Minions), gift wrapping paper sheets and UV acrylic varnish
58 x 48 in (121.9 x 147.3 cm)
Sherin Guirguis
Untitled (pentagon), 2015
Mixed media on hand-cut paper
44 x 46 x 2 om (111.8 x 116.8 x 5.1 cm)
Sherin Guirguis
Untitled (quadrilateral), 2015
Mixed media on hand-cut paper
55 x 44 x 2 in (139.7 x 111.8 x 5.1 cm)
Sherin Guirguis
Azbakeya (Sun Disk), 2018
Acrylic and 24k gold leaf on hand-cut paper
28 x 74 in (71.1 x 188 cm)
30 x 77 in (76.2 x 195.6 cm)
Edra Soto
por la señal #29, 2024
Sintra, MDF, latex paint, viewfinder, inkjet print
14.25 x 14.25 x 3 in (36.2 x 36.2 x 7.6 cm)
Edra Soto
por la señal #21, 2024
Sintra, MDF, latex paint, viewfinder, inkjet print
12 x 12 x 3 in (30.5 x 30.5 x 7.6 cm)
Edra Soto
por la señal #33, 2024
Sintra, MDF, latex paint, viewfinder, inkjet print
10.5 x 10.5 x 3 in (26.7 x 26.7 x 7.6 cm)
Edra Soto
por la señal #19, 2024
Sintra, MDF, latex paint, viewfinder, inkjet print
12 x 10.25 x 3 in (30.5 x 26 x 7.6 cm)
Fran Siegel
Dispersed Painting-Fanny, 2024
Pigment, indigo, cyanotype, embroidery, quilted fabric, porcelain and wood mounts
88 x 107 x 12 in (223.5 x 271.8 x 30.5 cm)
Fran Siegel
Disperesed Painting-Ida, 2024
Pigment, indigo, cyanotype, embroidery, string, quilted fabric, porcelain and wood mounts
88 x 100 x 12 in. (223.5 x 254 x 30.5 cm)
Fran Siegel
Mirror, 2024
Cut yupo, porcelain, ss wire, string, cyanotype, paper, fabric and dichroic film
18 x 18 x 8 in (45.7 x 45.7 x 20.3 cm)
Fran Siegel
Lena Drawing, 2024
Crayon, watercolor and flashe on cut and collaged paper
11 x 15 in (27.9 x 38.1 cm)
Fran Siegel
Ida Drawing, 2024
Crayon, watercolor, and flashe on cut and collaged paper
11 x 15 in (27.9 x 38.1 cm)
Fran Siegel
Fanny Drawing, 2024
Crayon, watercolor, flashe on cyanotype on cut and collaged paper
16 x 12 in (40.6 x 30.5 cm)
Samira Yamin
(Refractions) March 12, 2012, 2018
Wheel-cut optical glass and TIME Magazine page, mounted on Sintra
10.25 x 15.375 in (26 x 39.1 cm)
Samira Yamin
(Refractions) August 6, 2012, 2018
Wheel-cut optical glass and TIME Magazine page, mounted on Sintra
10.5 x 7.25 x 1 in (26.7 x 18.4 x 2.5 cm)
Samira Yamin
(Refractions) January 20, 2014, 2018
Wheel-cut optical glass and TIME Magazine page, mounted on Sintra
10.25 x 15.5 x 1 in (26 x 39.4 x 2.5 cm)
Samira Yamin
(Geometries) Fire XII, 2024
Hand-cut TIME Magazine pages
15.25 x 10.75 in (38.7 x 27.3 cm)
Samira Yamin
(Geometries) Fire Smoke, 2024
Hand-cut TIME Magazine pages
15.25 x 10.75 in (38.7 x 27.3 cm)
David Adey
Little Ghost 1, 2024
Laser-cut paper, fluorescent acrylic, pins, on PVC panel
13 x 13 x 1.75 in (33 x 33 x 4.4 cm) Framed
David Adey
Little Ghost 2, 2024
Laser-cut paper, fluorescent acrylic, pins, on PVC panel
13 x 13 x 1.75 in (33 x 33 x 4.4 cm) Framed
David Adey
Little Ghost 3, 2024
Laser-cut paper, fluorescent acrylic, pins, on PVC panel
13 x 13 x 1.75 in (33 x 33 x 4.4 cm) Framed
Luis De Jesus Los Angeles is pleased to announce the group exhibition CUT—Six Artists on the Edge, featuring works by David Adey, David Daigle, Sherin Guirguis, Fran Siegel, Edra Soto, and Samira Yamin. The exhibition will be on view from November 9 through December 21, 2024, with an opening reception on Saturday, November 9th from 4:00 to 7:00 pm.
CUT— explores various methods of cutting in which the physical object and the method of creation are integral to the works conceptual implications. The processes used to transform these objects—including tearing, slicing, carving, drilling, and laser cutting—employ subtractive operations to move beyond the surface. The artists in this exhibition intersect through these diverse strategies of intervention and examine structural and material properties to reveal a core of scientific, historical, and anthropological connections, bringing a metaphorically and physically nuanced perspective to the expressions of form.
David Adey’s work examines the fraught intersection between our physical bodies and the increasingly digitized, two-dimensional world that we inhabit. “Ghost” employs a three-dimensional scan of his body created with the assistance of open-source software. The resulting triangulated 3D model was unfolded and flattened onto a single plane, then laser-etched into 75,000 pieces and reassembled in a layered composition with pins. David Daigle endeavors to see past, through, and around photographic images. Through a subversive manual process of hole-making using an adapted drill, Daigle obfuscates, destroys, and sifts through commercial advertising images as a strategy to discover the meanings trapped behind them.
Sherin Guirguis research-based practice is a means to heighten awareness of marginalized and contested histories, particularly those of women. She aims to make the invisible work of historically underrecognized women visible once more by translating their forgotten stories into paintings with multi-dimensional surfaces revealed through meticulously hand-cut geometric patterns in paper.
Fran Siegel’s painted embroidered patchworked tapestries are suspended from elaborate porcelain mounts and the interwoven lines that pass between them. Siegel disassembles and reorganizes pattern histories, cultural hierarchies, and painting itself by turning expectations inside out. These cuts continue with the collaged drawings made throughout her reassembling process. Expanding on her ongoing architectural intervention series GRAFT, the works in Edra Soto’s laser-cut series por la señal / by a signal, delve further into the artist’s personal history and cultural heritage, examining the connections between her memories of Puerto Rico, African and Caribbean influences, and the colonial imposition of the United States upon the island. Samira Yamin’s Refractions series employs optical glass carved in dynamic symmetrical patterns as the lens through which the phenomenon of light is able to bend, obstruct, and illuminate photojournalistic images of conflicts and in so doing prompt viewing experiences that challenge what the images purport to represent.
