I’ve been an admirer of May-ling’s work since 2009 when I saw a show she did at Seminal Projects. However, we never met until last April when I visited her studio and asked her to do a show at Ice. In terms of process and aesthetic, we are seemingly at odds, but I feel that we share some core values when it comes to our view of art in general. May-ling has been using the gallery as a working studio in preparation for this show and everything is coming together nicely thus far. I’m still not quite sure what the outcome is going to be as she is working rather organically in response to the space but it’s shaping up to be pretty interesting. Please join us Saturday March 25th from 6-9 to see what she’s been up to.
Some words from May-ling about the show:
“Layers of information collide and overlap in the space in a stream of consciousness. The work is based in an innate need to understand and decipher the unknown. Using iconography found in “How to books” as well as diverse visual systems found in books meant as learning devises perceived with a logical approach. I’m interested to explore how this logical approach satisfies a need to feel in control of our surroundings.
I also collect images from science, medicine and engineering books designed to facilitate our understanding of our environment by explaining the numinous in a coherent way. The images are then reinterpreted and presented in a different context producing an expanded narrative of the original one. Exhorting subjective interpretation based on personal experience.
Stacks of carefully collected found objects are arranged and recombined in unexpected ways to expose the uniqueness of the implements. Raising questions of their function and the human need to control our surroundings through tools and devices. In the same line others raise as beacons, a sort of personal markings.”
There are artist that I admire for how close I feel to their work in terms of how it aligns to my own process and aesthetic. Conversely there are artists I admire despite feeling completely distant from how they think and operate. Kyle Thompson falls into the latter category. Perhaps it’s because his work and his practice is so utterly foreign to me that I find myself fascinated by it. No matter the reason why, I think Kyle has a unique perspective and approach to making art and I’m excited to be working with him.
In his words:
I’m trying to decide whether this reaction is proceeding along an E2 or an SN2 pathway. There is plenty of “exchange”, and also plenty of “substitution” — there is a liferaft here because there is now a floating rock out there — but some of the things I really have to consider are: is there a strong nucleophile involved? Does the rock have a primary moiety? Does the liferaft have a tertiary, allylic, or benzylic structure? Is either one sterically hindered? Are the transition states of these buoyant objects relatively stable? Is the solvent (seawater) or the inverse solvent (spacetime) highly protic?
Once I figure these things out, I can move on to stereochemistry, kinetics, and NIHIL.
Please join us Saturday, November 12th, 6-8pm
Sadly it’s time to say goodbye to this 1/4 scale R17 subway car
It really is impressive to see this thing in person. You can come pay your respects and say hello to Super Kool Sake himself this Saturday:
1 – 4pm
We hope you can make it.
In the 1970’s and 80’s, with the New York City subways as the primary “canvas”, graffiti was forged into one of the last great art movements of the 20th century. Nowadays graffiti is everywhere except the iconic subway cars that propelled it from NYC to the entire world. That is the underlying premise of the new installation titled “Rust Magic” by San Diego graffiti veteran Sake. In addition to the interior of Ice being bombed with graffiti from top to bottom the exhibition also includes a display of vintage spray cans, an outdoor mural, and a 1/4 scale replica of an R17 subway car.
I hope you’ll come and take a look.
Saturday, September 10th, 2- 6pm.
As always, if you can’t make the opening you can always schedule an appointment for a time that’s more convenient.
The last day to see my installation at Quint Projects is this Saturday, 7/16/16.
If at some point you told me that you plan on seeing it but have yet to do so, be advised that the excuses submission deadline has passed.
Just drive over and see it already. LA people, I’m not excluding you.
(only half joking. heh)
This is the last time you’ll ever get the chance to see this piece. After Saturday, it’ll be gone forever.
Gallery hours on Saturday will be from 10am – 1pm. If you wish to see it before Saturday you may make an appointment with me or the gallery for a time that’s more convenient for you.
I hope to see you there.
I’m so bad at promoting myself.
This will be happening tomorrow, 6/18/16, at noon. Click HERE for more info.
I’m very excited to show you this one. Opening at Quint Pojects this Saturday morning, 5/21/16, 10am – 1pm. Click HERE for more info…
One of the things that makes running ICE Gallery fun is offering a space to an artist and telling them they can do anything they want with it. The only restrictions being the confines of the space and their own budget. The result, if you’ve chosen your artists wisely, is that you get such a diverse array of exhibitions. A line up that doesn’t remotely fit into any sort of tangible uniform aesthetic. The contrast between this show, the previous one, and the next one is so stark that in a normal gallery situation it would seem that the curators interests are all over the map. Well, good. I love that. Click HERE for more photos from Nathan Gulick’s exhibition “Finest City”.
Please join us on Saturday, February 20th from 4-6pm for the closing reception of Nathan Gulick’s solo exhibition, “Finest City”.
“Finest City” presents a series of arrangements (possibly a sculpture garden, or ruin field) of readymade architectural decorations in amplified colors, set amongst a faux grass lawn (a necessity in a time of catastrophic drought) and a sheer wall of tan stucco.
Reveling in a distinctly artificial American style, still rooted somewhere in old Europe, the work seeks to highlight the temporary and temporally unsure aesthetic landscape of a region still contending with a legacy of mass migration and suburban sprawl.