Artist Susan Lizotte

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Susan Lizotte’s studio is a trip around the world, from history known and unknown, through the surface and into layers of meaning, venturing from the abstract to the literal. Each piece, regardless of the style or the series she’s created, resonates with urgency and tells a story that’s nuanced in technique and narrative.

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Her Mercury series is about power, a potent riff on the seen, unseen, and the discovered and undiscovered since Columbus discovered the new world. With the god Mercury known as messenger, this series uses that capability to send a message about what you can’t see in this world, from political events to the darkness of the human heart. Above, the artist’s large scale “He Thought It Would Last.”

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Above: The Old Order

Her series, the artist says, “tackles misuse and abuse of power.” Starting from Columbus reaching the New World in 1492, touching on mercury as an element used by doctors of the time period to fight syphilis, and inspired by Mark F. Blaxill’s “The Age of Autism: Mercury, Medicine and a Manmade Epidemic,” Lizotte takes on poisoned subjects with grace and beauty.

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Above, “New Medievalism,” whose almost comical demons reveal what we fear and don’t fear in today’s global culture.

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Her more abstract works captivate in form. Working in aerosol and oil on canvas, she creates space and movement that is both translucent and oblique. The oils make sharp images. “The layers are all about the idea of what we see and don’t see,” she says.

She was inspired by Pascal Cotte. “He runs Lumiere Technology in Paris,” Lizotte explains. “He  contributed to the knowledge of the Mona Lisa due to his multi-spectral digitization, pealing back layers to see what we don’t see in the ultra violet and infrared spectrum.”

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We may see only a middle range of light wavelengths, but Lizotte seeks to lift up the rock on our cultural and emotional vision and expose and create a new inner dimension. Her spray paint creates a fuzzy but distinct feeling of depth. What do we see when we allow ourselves to fall inside her work?

Open your eyes and learn to see…Lizotte’s vision will pull you into history and the power for greater insight in one fell swoop.

 

 

 

 

Artists Rule at Durden and Ray: Reviews of Americanism and Yvette Gellis/Drea Cofield

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Above: Americanism, from March 2016

We’ve seen two fantastic shows at the Durden and Ray gallery space in DTLA recently – unfortunately, you may have missed them. Both shows ran for short periods of time, two weeks and one week respectively, making it essential to put this gallery on your radar and your must-see gallery list.

We’ll give you a look here and suggest that you check out the well-curated offerings presented and the artists who created them online.

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Above, Yvette Gellis

The most recent stand-out exhibition was the paired solo exhibition of Yvette Gellis and Drea Cofield curated by Susan Lizotte.

In the back room of the Durden and Ray space, Drea Cofield paints a post-impressionistic lush and magical world in warmly saturated colors. “It was observational work created in Long Island City,” Cofield relates. Created in water color and colored pencil, she calls her work here “American Summer paintings, the hot sun, the back yard with the bathing suit on, a lot of our culture comes out in that,” she says. These Edenic pieces are softly sensual

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In the main exhibition room, the work of Yvette Gellis, whose paintings reconstruct and redefine her place in the world, through lyrical abstract impressionism. “Most of my pieces are oil on mylar, the panels combine acrylic and oil to break up the paintings and bring them into the space. The mylar tends to transform the entire space,” Gellis explains.

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It’s a conversation in which you are always on guard, a metaphor for life and what’s happening geopolitically, where we are headed as people.” These recent works were inspired by the artist’s recent visit to Paris and her return right after the bombings there.

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Further back, Americanism, a powerful group show curated by Steven Wolkoff, ran for far-too-short a time March 26th, and featured an absolutely killer collection of artists focused on what exactly it means to be an American – and what is an American “ism.”

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Featuring images as interesting as they are fun “including cat memes, supersized sodas, bottomless military funding, and all the anti-establishment political candidates you can handle,” according to Wolkoff, exhibiting artists included:

Gavin Bunner
Don Edler
Raymie Ladavaia
Ben Jackel
Casey Kauffmann
Yoshie Sakai
Sonja Schenk
Ami Tallman
Drue Worrell

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Curator Steven Wolkoff left, with artist Gavin Bunner, right

Wolkoff says “The project started with a few artists who wanted to show the Americanism spirit as something to explore. They had the idea of components of American spirit which are manifest in politics right now. The ideas coalesced around that,” he says.

The prescient and timely topic – given today’s political scene and the upcoming California primary election – offered a strong and bracing look at who we are as a culture in this point in time.

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Gavin Bunner’s “Job Interview” features a delicately rendered job interview line, with hope and dejection both rampant in a piece that serves as a solemn yet amusing ode to the recession we have still not recovered from – unless one is part of a political or economic dynasty.

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“Even Superman cannot get a job,” Bunner points out. “There’s hope going into the inteview, rejection and disappointment coming out.” The piece was created with gloss and sharpie ink.

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Raymie Ladevaia uses “the feline as a metaphor for the endurance and stamina, the power and energy of a cat’s bounce. It can start and stop, an action, a force of itself,” the artist relates.  His work was created using water color, crayon, and collage. “Lots of my work deals with feline energy and force. If you’re a cat person you understand.”

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Sonja Schenk’s “The End” is a plaster and styrofoam sculpture. “I considered what’s iconic about America, and I decided it was the car the road. It’s the end of that era, and our roads could be like the ruins of the Roman Empire or Native American Mounds. That was my inspiration.”

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Yoshie Sakai’s video work above shows Americans mindlessly eating junk food “Come One, Eat All;” while Ami Tallman’s “Local 215,” and other images below, are all about the desire for change.

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Below, the sculpture of Ben Jackal

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Below the work of Stacy Kaufman: smashed iPhones, hot dogs, Mickey Mouse, sex, and bombs.

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Find these artists! And keep an eye on Durden and Ray’s exhibition space, located at Durden and Ray 1950 S Santa Fe Ave Los Angeles, CA 90021

Lena Moross: For the Love of Carmine

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Born in St. Petersberg, Russia, artist Lena Moross is a true force in the Los Angeles art scene. With the characteristic vibrance she shows in so much of her lush work, she’s tackling a trenchant subject: what being transgender really means. In her upcoming solo exhibition, For the Love of Carmine, opening June 11th at MuzeuMM, Moross creates a social narrative.

Her beautifully colorful, finely detailed, impressionistic watercolor work is used here to create an immersive experience of what it’s like to grow up as a transgender male in the early post-war years. Her large-scale paintings demand repeat viewings: the very feminine, voluptuous curves and her emphasis on fluid strokes and shapes create a richly fertile landscape to explore what it’s like to be a woman inside a man’s body. A staged video is also included in the exhibit, which creates a deep dialog between the subject of her works here, Carmine, and the artist herself, as an untold narrative spills forth.

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Above, Carmine Messina with the artist, Lena Moross

The artist was captivated by the real Carmine Messina, whom she met on a Hollywood street corner three years ago. Tall, heavy-set, and middle-aged, Messina was heavily made up and dressed in a woman’s black coat, fishnet stockings, mid-calf boots and sporting a long, jet-black wig. Moross was struck by Carmine’s gentle demeanor and his obliviousness to the effect he was causing. The artist introduced herself and began a conversation that led to recorded conversations, videos, photographs, paintings, and sketches. Using these resources, she set about exploring, through her art, the ordeal of being transgender in the late 1940s, born into a middle class San Fernando Valley family.

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Her revealing, sensual paintings tell a long hidden story, one that exposes and gently honors what had been concealed and riddled with shame. While social change is slowly creating a space for transgendered people, their long hidden stories can be difficult to reveal and depict. Moross tells Messina’s story with dignity, humor, and a translucent grace, qualities which are representative of all of Moross’ recent work.

Her pieces have a dream-like, almost floating quality, their fluid lines and the incorporation of floral images and colors making her work as intense as it is delicate.

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In this exhibition, Messina, clad in a simple aqua smock, poses in feminine grace, shy and almost transcending his girth; or Moross positions him nude, with a jubilant, blooming bouquet of red roses masking his genitalia.

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Whether raising a glass of ruby wine, reclining against the coiled cocoon of a red quilt, or performing opera in a yellow tunic, the figure that Moross captures is at once bulky and beautiful, poised and awkward, always fluid and feminine. She casts what it means to be a woman – that particular state of grace, longing, and sensuous shape, in a fresh light.

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Moross fuses male and female, form and the softest of function. You can almost feel the draped cloths, smell and touch the soft rose petals. It’s no surprise the Moross is skilled at this kind of fusion. Moving from Russia to the U.S., she studied classical art at the State Academy of Art in Russia. In America, she studied at the Pasadena Art Center College of Design as a student of Peter Lyashkov, earned her master’s at Cal-Arts, and was a student of John Baldessari and John Borofsky.

Her fine art skills and her wonderfully interpretive, fantastical bent have meshed just as surely and resiliently as her international heritage has fused with a strong, brash sense of American freedom.

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In For the Love of Carmine, Moross expresses freedom, repression, fantasy, joy, and a spirit that longs to break loose from its confines. A truly masterful solo show, by an artist who is taking flight with story and shape.

MuzeuMM
4817 W Adams Blvd, Los Angeles, CA
Opening reception June 11, 7-11pm

  • Genie Davis; Photos: Shoebox PR

Boots on the Ground

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Running through June 11 at the Mid-City Art House, Boots on the Ground is one eclectic, mesmerizing show. If you missed the opening May 21, there will be an artist’s talk this Saturday the 4th, an open panel discussion in collaboration with Betty Brown’s Art World Conversations series, from 2-4 p.m.

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Mid-City Art House is a great space for an exhibition, a front gallery connected to a rear space via an open air patio that served up drinks and snacks plus d.j. at the opening. This is a space to watch, and as curated by Dulce Stein and Tricia Banh, a great home for a show that introduces new artists, promotes mid-career artists, and is all about the forward march of art as experience.

Featured artists include:

Nancy Armitage
Tina Dille
Lorraine Bubar
Eva Polonkai
Jason Bud
Kayla Tange
Loren Philip
Jose Angel Hernandez
Francisco Alvarado
June Edmonds
Christine Rasmussen
Nancy Spiller
Robert Rosemblum
Javier Benitez
Jodi Bonassi
Stephanie Sherwood
Lana Chromium
John Hogan
Kira Vollman
Vanessa Contreras
Rouzanna Berberian
Kenn Raaff
Tamara Tolkin
Carl Shubs
Amber Goldhammer
Mela M
Nicole Fournier
Shizuko Greenblat
Francesca Quintano
Eva Perez

Francisco Alvarado with an image that evokes the work of Matisse. “I’m a prolific painter. I don’t work on a single piece, I create a series based on custom color mixes, doing multiple paintings at a time,” he says.

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Below, Art House owners and artists Jake Harwell and Selma Morales Harwell with some of their works. Jake Harwell’s found art sculptures include rawhide wraps.  Each piece has a song of motion in it.

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Above, Selma Morales Harwell creatures voluptuously shaped sculptures that evoke the Southwest.

Artist Loren Philip, below, has created work that is, according to the artist, a “witness to the mythology of youth, the final piece in a topographical witness series of creating topographical maps from memory.” As vivid as the sea and sky conjoined, this piece.

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Below, Robert Rosemblum, well known for creating visually arresting photo montages, abstract, and fine art photography. Here is abstract piece plunges viewers into the sea inside water droplets, each a tiny opal radiating color.

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Jodi Bonassi, below, has created another evocative, personal image, a work that allows the viewer to enter into the intimate life of another person in “Girl, Crosslegged.”

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Below, Kira Vollman creates an abstract, multi-media sculptural piece, a ladder that leads to intriguing “Ascending Intervals.”

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Artist Kenn Raaf, below, says that he works in a constructive and deconstructive fashion. “I build up multiple layers into each piece, then tear them down to abstract the imagery that captures the movement and essence of my subject.”

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Mid-City Art House is located at 5555 W. Washington Blvd., in of course, mid-city LA.

Check it out – at DiversionsLA, we and our Baby Art Critic (coming soon to an Instagram near you) agree.

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Above, artist Loren Philip with author and Baby Art Critic.

  • Genie Davis;  Photos: Jack Burke, (photo directly above via Loren Philip)