Soma / Sema
Opening Friday, April 13, 7-10pm
Let’s start by counting slowly from one to ten. With each number, you grow more and more relaxed . . .
One . . . your eyes are relaxing…
Two . . . your body is loosening…
Three . . . your legs and torso, relaxing…
Four . . . your chest, back, shoulders, arms, hands, fingers, releasing...
Five . . . your neck, your head, your ears, face, mouth, nose, eyes, relaxing...
Six . . . the crown of your head eases…
Seven . . . your whole body slackens …
Eight . . . you feel a comfortable, light, floating sensation...
Nine . . . you are in a trance state … weightless...
Ten . . . you feel light and comfortable and safe.
I invite you to step into an environment that makes you feel safe and peaceful. It can be someplace you remember, or a place you have never been. Experience the sights, sounds, smells, and tastes until this scene becomes real. You come upon a path meandering away from this scene. Follow that path. It takes you deeper into trance with every step you take. The sights and sounds, more vivid. The smells, more pleasant. The feeling, more comfortable. You now enter into a sacred area in your inner landscape. There you encounter a structure in the center. It feels both safe and wondrous. It is your own inner resource, recording all that your soul experiences through eternity. You have come here for a special purpose. You have come here for the answers you have always sought. This knowledge exists deep within your soul. Here you can retrieve whatever you need to know.
Soma / Sema is on view April 13-28. The gallery is open Saturdays, 12-4pm and by appointment.
Opening reception March 10, 7— 10pm
“I no longer feel the sun. But I also can’t recall last feeling cold. At what we’ve now resolved to call night, when the light slumps close to that distant margin, we climb up to the roof. We watch it settle into a low crouch that paraphrases every form. And when briefly in this position, all of the last creatures begin to stir and sound. This conduct seems to conjure the wind from otherwise unending stillness. It threads every ruptured window and useless doorway in the city. I close my eyes and all of this is the sound of an orchestra tuning. And then when achieved, it halts and we acquiesce again to arid silence. And the light rises again and it resumes its languid assault on every surface beneath it. The paint on every façade is faltering. Desiccation curls every outer edge. There is less and less to hold onto. And this is now how it is.”
- Celine Harper, Finally Endless.
Exhibition open from March 5—31. Open Saturdays 12— 4pm and by appointment.
Opening Reception Saturday February 10 from 7 to 10pm
Open Saturdays and Sundays from noon to 6pm
Contact Elephant for appointments: email@example.com
Elephant, in association with Pretend Gallery, is eager to present Adult Contemporary, a solo exhibition of new self-portraits painted by Jonathon Hornedo.
Adult Contemporary is also the title of Hornedo’s forthcoming second visual album. In 2016, with Art Catalogues at LACMA, he released his debut album called What’s Knew, a group of small individual prints of abstract paintings that were rich in tonal variation, color, and shiny lines. For Adult Contemporary, Hornedo maintains an exploratory use of color with translucent stains and opaque layers in oil. There is still some shine, especially in the T-zone area. Hornedo’s interactions with the genre of self-portraiture bridge structured improvisation, self-channeling, and alignment of material and subject. His strokes are broad, loose, and tight. The subject is mannered, illusionistic, expressive, and distortions ooze through the cracks. On view at Elephant are a selected preview of paintings for the new solo album of 11 prints called Adult Contemporary.
There is more than one Hornedo in this show. There’s a red Hornedo. A gold one, a blue one, and one where he kind of looks like a vampire. In another he looks like an androgynous green alien with greasy long hair. He’s wearing the same thing in each painting like a uniform, the same white collared shirt and dull ochre peacoat that he bought specifically for this project. He appears calm, anxious, annoyed, and joyful. This is a guy who once slipped on a banana peel. It’s the face he often made when telling people about these paintings before he painted them. It’s the Pura Vida vibe of a first generation Costa Rican who accidently took a dance class once and saved all his receipts last year to calculate his business tax deductions and who recently bought a cold-pressed masticating juicer. He masticates daily now. Sometimes twice a day.
15% off pre-orders for Adult Contemporary at the opening. The album includes 11 individual prints, digital copies, a soundtrack, and an opportunity to have your portrait painted by Jonathon Hornedo.
Edition Popcorn: Beet Pop Blush by Sara Chao
No Way Rosé by Pretend Gallery
Jonathon Hornedo was born in Long Beach, CA in 1982. He has a BA in Art from UCLA and graduated in 2010. In 2012 his solo show Canvas Panels was reviewed by David Pagel in the Los Angeles Times. Pagel said he was “wicked silly and wildly intelligent”. British journalist Sophie Heawood has called him “a most excellent man”. Paintings from his debut album What’s Knew have been exhibted at Outside Gallery, Pretend Gallery, and AR Projects. His work has been exhibited at the University Art Museum at CSULB and featured in the LA Weekly. In 2016 Hornedo began working with performance artist Anthony Bodlović on a podcast project called Rated PG. It aired on KPFK 90.7FM from November 2016 to February 2017. Episode nine premiered at PØST for Hornedo’s solo show of landscapes called Now Showing. His studio is called Pretend Gallery. He lives and works in Echo Park, Los Angeles.
Opening reception Saturday, January 6th 7-10pm
Ships is an exhibition of new work by Roberta Gentry made up of segmented and stacked groups of shapes in paintings and turned wood. The paintings are bilaterally symmetrical impossible structures that float above beds of pattern. The sculptures are created on a wood lathe, and include a 12 ft. carved pole, as well as strings of painted beads.
Roberta Gentry received her MFA from SUNY Albany and her BFA from the University of Arizona. She has had solo shows at the Joyce Goldstein Gallery in Chatham, NY, and at Stanica Cultural Center in Zilina, Slovakia following a residency funded by the US Embassy. Group shows include Durden and Ray, Brand Library and Art Center, and Left Field Gallery. She lives and works in Los Angeles.
On view Saturdays, 12pm to 4pm through January 27th and by appointment. To schedule a visit, email elephant: firstname.lastname@example.org
Opening November 3, 7 - 10pm
The mission of STAR DECK Academy is to explore the physical and symbolic connections between mind, body, spirit and matter through the language of Our Solar System. The point of orientation is Earth, by which is meant The Native, a role we all play beginning at the moment of birth.
The material presented in this inaugural exhibition is both research-based and intuitive. The Academy Star Deck attempts to discern the collective pull of the major planetary bodies through the creation of a series of symbols (i.e. “paintings”).
Meanwhile, in The AstroAerobics Lab, constellations are explored in relation to the (physical, human) body so as to understand through experience the many variables present within a given natal chart (i.e. “life”).
Saturdays & Sundays, 12pm - 4pm 11/3/17-11/26/17
Elephant is pleased to present Josh Atlas’ exhibition support, for beginners. The exhibition will open with a reception on Saturday, October 7th from 6 to 9 pm and will be on view through October 28th.
With this body of work, Atlas wants to open space for empathy. Though the objects are slight, their visual strength helps them hold their posture. Slips of paper jut from their spines, creating a space for breath. Moment to moment, they maintain their surety.
The sculptures are wall mounted and face directly outwards. They are solid and open. Nothing is hiding, nothing is trying to trick you. They present themselves clearly and plainly, giving all they have to offer.
In the Stacks series, several pieces of paper are pierced by wood, making many bodies into one. Their interdependence creates wholeness. In the Mounds series, ribbed shapes reach off to the side. These pieces push their focus into the thin edges between blocks of color and pieces of paper. Separate elements merge with the clarity of a single body.
Josh Atlas was born in Brooklyn, New York. He studied at Carnegie Mellon University (BFA, 2005) and Mountain School of Arts (2015) and attended residencies at Wassaic Project, Vermont Studio Center, and Creative Arts Center - Woodside. His work has been shown in group exhibitions at Regards (Chicago), MAMO (Marseilles, France), Klowden Mann (Culver City) and Allegra LaViola (New York). Josh Atlas lives and works in South Pasadena, California.
On view Saturdays through October 28th and by appointment. To schedule a visit, email elephant: email@example.com
Opening Friday, September 8, 7-10pm
Featuring work by
The group show Fabric of the Particular pulls its name from Roberto Bolaño’s collection of short stories, “Last Evenings on Earth,” where the narrator and his dentist discuss the nature of art. The dentist explains art comes from "the story of a life in all its particularity. It's the only thing that really is particular and personal. It's the expression of, and at the same time, the fabric of the particular.”
The curator, Michelle Chong reflects on how the personal is expressed through particular choices, and how intentions are manifested into social commentary. More specifically, the works in the show explore the relationships between self and body, body and landscape, identity and place, and mortality and ritual.
Laida Lertxundi works in moving image, photography and printmaking. Her main body of work is shot on 16mm in a process she calls Landscape Plus, which combines filmic records of people and places with a strong emphasis on sound and pop music, resulting in languid passages of cinematic language, bodily desire, and existential awareness. She employs a fragmentary approach to editing in which cinematic forms of storytelling are replaced by a focus on process and materiality. Her work highlights the tension between form and the experience that will always exceed it.
Victoria Lucas’ practice led research aims to investigate the analogy of the artificial landscape as an ideological mise-en-scène, to challenge anti-progressive frames of power through the construction of imaginary place as artwork. Limiting orthodox idealism has gained a foothold in western politics, fueled by the widespread manipulation of facts and a populist shift towards right-wing agendas. Drawing upon imaginary fictional space, the staging of the work cites cinematic, geographic, and literary frames and references in order to interrogate the power of constructed heterotopic resistance against unquestioned privileges of power from a feminist perspective.
Chris Mancinas explores the power of language in reworking the self and reconfiguring identity through text, textile, and sculpture. They describe this as “Leaning with intent to fall, fall forward with unabashed fury, to be and become, embracing the truths, the sort of truths and all of the tru-ish-isms.”
Renée Petropoulos presents drawings of signs and symbols consciously arranged to explore their functions, their monumentality, their changing histories, and conventions. As Bolaño’s dentist further describes the fabric of the particular as moments in life, “the secret story… the one we'll never know, although we're living it from day to day, thinking we're alive, thinking we've got it all under control and the stuff we overlook doesn't matter. But every single damn thing matters! Only we don't realize. We tell ourselves that art runs on one track and life, our lives, on another, and we don't even realize that's a lie," Petropoulos explores the dialectical relationship between our private lives and our public lives and how they are woven intricately together. Her work navigates between personal and political representations, tearing at the threads that weave between the facets of our lives as individuals and as subjects.
Brandy Wolfe’s photographs start with an exhibition catalogue or an informational book, from which she cuts out the subject central to the text. What remains in the book is the framework/support for the now missing objects. After arriving at a desired composition within the physical pages of the book, the pages are scanned, edited, printed in pieces on cheap computer paper, and taped back together. Embracing an in-between-ness while also emphatically positioning themselves as cultural objects of worth, the resultant large-scale images are a conflation of two- and three-dimensional space. While the intended narrative of the source material is now splintered and broken, there still remains a desire to piece together the fragmented forms, shadows, and spaces into new narratives—to impose a new hierarchy onto the void.
The images in the series Memoriam Holera (a rough Latin translation for memorial greens) started out on the pages of a 1949 book entitled Favorite Flowers in Color. While originally drawn to the book for its fetishized images of affect (in the form of beautifully lush flowers and the carefully constructed context they were photographed in), the resultant abstractions became a meditation on the relentless mutation and division of cancer cells, following two recent excisions of a phyllodes tumor. Through weeks of cutting, scanning, and editing more than 500 pages of greens, a series of fragmented landscapes emerged that float in and out of focus—with moments of beautiful lucidity and hidden murk.
Michelle Chong is an artist based in Los Angeles. She received her MFA from Otis College of Art and Design and her MA in Psychology from Antioch University. She is the founder of Short House and has served on the board of FAR and SASSAS.
Exhibition on view Saturdays through September from 12-4pm and by appointment. To schedule a visit, email elephant: firstname.lastname@example.org