Livia
10-28-2005, 10:26 AM
http://minibytes.mondominishows.com/poo/affiliates/play.asp?Affil=iwon&W
What are some of the correspondences that emerge from this particular constellation of artworks? Perhaps the most prominent commonality is a wave of new relation to popular culture, characterized by a collage sensibility that sometimes borders on atomization. This manifests itself most literally in the bristling constructions of Elliott Hundley, which occupy some territory between the seething horror vacuii collages of the late Bay Area beatnik Jess and Oyvind Fahlstrom’s magnetic variable paintings. The exquisite immediacy of this recent UCLA MFA grad’s pincushion mosaics is testified to by the feverish flurry of serious gallery interest described in a recent New York Times story. From a distance, Hundley’s work resembles gorgeous abstract painting, but on close inspection is revealed as an intricate aggregation of tiny elements, typically pinned individually to the surface like so many butterfly-hunting trophies. Tiny cut-out photographic images and illustrations from children’s encyclopedias swirl together with sequins and fragments of artificial flowers like some magical Stevie Nicks cape, creating an almost overwhelming wash of interchangeable narrative particles adding up to a story as dizzying and complex as modern life, and mercifully, optimistically beautiful.
What are some of the correspondences that emerge from this particular constellation of artworks? Perhaps the most prominent commonality is a wave of new relation to popular culture, characterized by a collage sensibility that sometimes borders on atomization. This manifests itself most literally in the bristling constructions of Elliott Hundley, which occupy some territory between the seething horror vacuii collages of the late Bay Area beatnik Jess and Oyvind Fahlstrom’s magnetic variable paintings. The exquisite immediacy of this recent UCLA MFA grad’s pincushion mosaics is testified to by the feverish flurry of serious gallery interest described in a recent New York Times story. From a distance, Hundley’s work resembles gorgeous abstract painting, but on close inspection is revealed as an intricate aggregation of tiny elements, typically pinned individually to the surface like so many butterfly-hunting trophies. Tiny cut-out photographic images and illustrations from children’s encyclopedias swirl together with sequins and fragments of artificial flowers like some magical Stevie Nicks cape, creating an almost overwhelming wash of interchangeable narrative particles adding up to a story as dizzying and complex as modern life, and mercifully, optimistically beautiful.