Press Release


CRG is pleased to present an exhibition organized by Los Angeles video installation artist Jessica Bronson of recent sculpture by five artists: Shirley Tse, Michael Coughlan, Christie Frields, Carl Bronson and Sam Durant. In a moment increasingly defined by hyper-accelerated montage and implied interactivity, the exhibition, all things, everything true, attempts to explore the nature of object and viewer through the work of several artists working in sculpture from the perspective of a time-based media artist. Each artist in the exhibition employs a variety of media, often materials that are readily available at the Home Depot, to produce works that hover between the do-it-yourself domestic and an ungraspable ephemeral. Whether suggesting a floor plan, furniture or backyard schematic, these artists intentionally use the familiar, often in a playful and humorous manner, to address complex phenomenological ideas. As with several of her recent sculptures, Shirley Tse’s Reconstruction of Plastic Surgery lays unobtrusively on the floor suggestive of a floor covering; however, it’s beigeness lends it an invisibility that begins to imply an organic floor patch. A strange topography is produced which creates shifts in perception. . what depth is this surface? What is the work’s relationship to the microcosmic . . . to the macrocosmic? Tse continues to be interested in the mutability of the term “plastic” — materially, metaphorically and historically, and here she playfully refers to that mutability in the title . . . a perpetually reconstructing object. At first glance, Michael Coughlan’sThe Problem with You is Me appears to be a simply constructed window frame placed on a crude table. Upon close inspection, however, one first notices that the frame is in fact stretcher bars and, second, that it supports strangely scaled objects. While a minute flower pot and oversize slug seem perfectly at home in the domestic environment, here they are oddly out of place on the isolated frame. This funny dislocation is amplified by the presence of an identical frame with flowerpot and slug placed directly behind the first frame, which presents the illusion of a mirror. Reminiscent of surrealist practice, Coughlan’s use of doubling with the window and the inclusion of dislocated objects proposes a dreamlike state; however, there’s also the sad sense of decay as the empty flower pot and slug colonize both the space of painting and the space of minimalist form. Using simple building materials, here pvc and drywall, Christie Frields has established a practice of constructing large lyrical works, which both provoke and defy an encompassing experience. With Virgin Soil, Frields gracefully loops 16 foot pvc piping from elegantly constructed drywall islands causing the viewer to pick a path of navigation through theme-park scaled Ikebana arrangements. In bringing together these all too common materials with graceful forms, Frields creates a kind of spatial haiku, a poetic form whose austerity seemingly clarifies, but really further mystifies language, here objects. The Ideal Copy, Carl Bronson’s small box-like structure with a primed paint ready surface quietly hovers on the floor. Its scale and unfinished exterior suggest a housing for some technological apparatus . . . a hard drive, amplifier, speaker or some other humming electronic device. Several logically configured openings or vent holes offer a glimpse into a seemingly empty interior. Inside, neutral toned plexi-glass covering the walls reflect and refract light in such a way to amplify and distort one’s perception of the three dimensional space. Recalling the work of many light and space installation artists and minimalists, Bronson’s small scale work humorously tweaks ideas of minimalism, mysticism and product design. Sam Durant’s “Our knowledge of the universe has filled space with meaning”,Capricorn Records Corporate Headquarters, Macon, GA, positions several fake rocks in a Japanese rock garden pattern to the accompaniment of Southern Rock classics. The music actually emanates from the rocks thus giving them a humming life like quality, almost animatronic, like the flora and fauna of theme parks and the increasingly popular theme restaurants. While the “rocks” disarmingly “rock,” the notion of spirituality is brought forth. Where does spirituality reside in Japanese gardens, in rock culture, in minimalist art? Visual material is available upon request


Gallery Hours: Tuesday – Saturday, 11 – 6 PM

For further information please contact: Carla Chammas, Richard Desroche or Glenn McMillan

Summer Hours: June: Tuesday – Friday 11 – 6 PM July & August: by appointment