LIGHT MATTER a TOP PICK by FITZ & CO

PST ART: Art & Science Collide is now in full swing.

Now in its third edition, Pacific Standard Time in Los Angeles brings together over 800 artists, 70 exhibitions, and institutions throughout all of Southern California with one central theme: the collision of art and science. The landmark arts event brings the community together to spark meaningful conversations on today’s most urgent issues. Project topics range from climate change and environmental justice to the future of AI and alternative medicine.

“Los Angeles right now is the most creative city on earth at any time in history,” says Michael Govan, the CEO and Wallis Annenberg Director of participating museum LACMA.

Swipe through to see some of our top picks for PST ART, on view across California.

1. ‘Fred Eversley: Cylindrical Lenses’ at David Kordansky Gallery | Installation view of ‘Cylindrical Lenses,’ 2024. Image courtesy of David Kordansky Gallery.

2. ‘Lia Halloran: Night Watch’ at Luis De Jesus Los Angeles | ‘Lia Halloran: Night Watch.’ Image courtesy of Luis De Jesus Los Angeles.

3. ‘Lita Albuquerque: Earth Skin’ at Michael Kohn Gallery | Installation view of ‘Earth Skin,’ 2024. Image courtesy of Michael Kohn Gallery.

4. ‘Light Matter’ at William Turner Gallery | Casper Brindle, “Cuboid 4,” pigmented acrylic, 36 x 15 x 15 inches. Image courtesy of William Turner Gallery.

5. 'Los Angeles Water School (LAWS)' at Morán Morán | Installation view of ‘Los Angeles Water School (LAWS), 2024. Image courtesy of Morán Morán.

6. ‘Max Hooper Schneider - The Unknown Masterpiece’ at the Virginia Robinson Gardens. Presented by Del Vaz Projects, Francois Ghebaly Gallery, and Marc Selwyn Fine Art | Robinson Gardens Pool Pavilion. Image courtesy of Robinson Gardens.

7. ‘Shirazeh Houshiary: The Sound of One Hand’ at Lisson Gallery | Shirazeh Houshiary, “Aurora,” 2023, Pigment and pencil on Aquacryl on canvas and aluminum, 190 x 190 x 5 cm, © Shirazeh Houshiary, courtesy Lisson Gallery.

8. ‘Helen Lundeberg: Inner/Outer Space’ at Louis Stern Fine Arts | Helen Lundeberg, “Cloud Shadows,’ 1966. Acrylic on canvas, 153 x 152.4 cm, courtesy of Louis Stern Fine Arts.

About Fitz & CO…
A growing global footprint continues to make FITZ & CO. a serious player for arty clients with worldwide profiles. About to enter its 25th year, Sara Fitzmaurice’s 20-person agency still reps Art Basel; Gagosian; Storm King Art Center; and brands like BMW and eBay, for whom FITZ & CO. builds artist partnerships. Equinox just tapped the firm to get closer to (real) art/culture influencers, and Mastercard engaged FITZ & CO to extend its Priceless campaign into the cultural sphere. Also in the agency’s collection: ultra-blue-chip international gallery Almine Rech; Dubai’s Alserkal Avenue arts/culture district; Denmark’s ARoS Aarhus Art Museum; ART021 Shanghai Contemporary Art Fair; and the Faurschou Foundation, which operates spaces in Copenhagen, Beijing and NYC.

LIGHT MATTER - PST ART: ART & SCIENCE COLLIDE - Exhibition Catalog Now Available

William Turner Gallery is pleased to present Light Matter, the first of two exhibitions, in partnership with the Getty’s PST ART: Art & Science Collide, which explore the intersections and influences between art and science.

Light Matter showcases the influences of scientific research on artistic process and intention, and builds on a collaborative experiment that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s.  As part of this initiative, Robert Irwin and James Turrell collaborated with NASA scientist and psychologist Ed Wortz at the Garrett Corporation. Together they developed a series of art and science-based investigations into the dynamics of perception, with a special emphasis on sensory deprivation. This intrigued Irwin and Turrell, who began to notice that perceptions were heightened after sessions in sensory deprivation tanks. Perhaps, they reasoned, the purpose of the work of art wasn’t as much about the work, as it was about the experience of perceiving the work.  Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that  inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by Dawn Arrowsmith, Larry Bell, Casper Brindle, Shingo Francis, Jimi Gleason, Eric Johnson, Jay Mark Johnson, Peter Lodato, Andy Moses, and Roland Reiss.

Opening This Evening from 4-8PM - LIGHT MATTER - PST ART: Art & Science Collide

William Turner Gallery, Santa Monica, California - is pleased to present Light Matter, the first of two exhibitions in partnership with the Getty’s PST ART: Art & Science Collide, which explores the intersections and influences between art and science.

Light Matter explores the influences of scientific research on artistic process and intention, and builds on a collaboration that began with LACMA’s innovative Art & Technology program, a collaboration between artists and industry that ran from the late 60s to early 70s. For a number of artists, this unique program led, unexpectedly, to a significant new way seeing and thinking about the purpose of a work of art. Enter Light & Space in Southern California, where the emphasis shifted from looking at art as “object”, to art as “experience”.

Artists in Light Matter continue to expand on this notion, experimenting with the possibilities of their materials, often through scientific research and innovation, to achieve heightened visual effects that engage the viewer in the wonder of the phenomenology of perception. They utilize materials and approaches that inspire the viewer to reflect - not only on “what” they are perceiving, but “how”. Many of the pieces require the viewer to interact with the works in unexpected ways - either by encouraging unusually active movement around, or stillness before, their works. The act of viewing engages the senses and heightens our sense of perception.

Light Matter includes work by Dawn Arrowsmith, Larry Bell, Casper Brindle, Shingo Francis, Jimi Gleason, Eric Johnson, Jay Mark Johnson, Peter Lodato, Andy Moses, and Roland Reiss.

Dawn Arrowsmith’s paintings are meditations in color, engaging the viewer in a kind of minimalist luxury – pure, distilled, but also rich, and luscious. Her work is intuitive, greatly influenced by Buddhist philosophy and by her travels to the Orient. These pieces play on the retinal effects from extended viewing, where an image that appeared flat & monochromatic takes on volume and appears to shimmer. Arrowsmith’s paintings, sculptures and installations have been exhibited in the USA and abroad. Exhibitions sites include the Los Angeles Contemporary Exhibitions (LACE), the Hammer Museum of Art in Los Angeles, the Los Angeles County Museum of Art, the Los Angeles Municipal Art Gallery (Barnsdall), the Clark Humanities Museum Gallery in Claremont, CA, the Riverside Art Museum, the Eli Broad Foundation in Los Angeles, the Lidovy Gallery in Prague, Czec. and the Campo d'Osservazione in Gubbio, Italy. Arrowsmith was born in San Francisco, California and received her M.F.A. at Claremont Graduate School, Visual Arts, Claremont, California.

Larry Bell is one of the most renowned and influential artists to emerge from the Los Angeles art scene of the 1960s, alongside Ferris Gallery contemporaries Ed Ruscha, Billy Al Bengston, Ed Moses and Robert Irwin. Bell is known foremost for his investigations of the properties of light, reflection and shadow on various surfaces, and how these properties affect our sense of space. Bell’s significant oeuvre extends from painting and works on paper to glass sculptures and furniture design. About his sculptures, he has said: “Although we tend to think of glass as a window, it is a solid liquid that has at once three distinctive qualities: it reflects light, it absorbs light, and it transmits light all at the same time.” Harnessing a little known technique developed for aeronautics, Bell utilizes a high-vacuum coating system that allows him to deposit thin metal films, which catch and reflect light, onto a variety of surfaces, which include his glass sculptures, paintings and works on paper. Bell’s work is in the permanent collections of numerous museums, including Museum of Modern Art, NY, Museum of Contemporary Art, LA, Los Angeles County Museum of Art, Frederick R. Weisman Art Foundation, LA, among many others.

Casper Brindle has become widely recognized for paintings and sculptures that invite the viewer into a rhythmic dance with light, as it is reflected, diffused and distilled through his work. Brindle also utilizes a variety of industrial materials - airbrush, auto paints, resin, and pigmented acrylic - to create sculptures and paintings that shift and change as one moves around them. Atmospheric colors are encased in cultural surfaces in a constant push and pull between depth, light and color. Casper Brindle grew up surfing the beaches along LA's coast during the 1970's and 80's, and worked for Light and Space artist, Eric Orr, in the late 1980’s. Brindle’s work is in the permanent collection of the Frederick R. Weisman Art Foundation, CA and has been exhibited at the Museum of Art and History in Lancaster, CA and the Laguna Art Museum in Laguna Beach, CA.

Shingo Francis grew up in Los Angeles, immersed in the intense light and vast ocean vistas of life in southern California. Like many LA artists, Francis became fascinated with the ever-changing qualities of light and how it affected one’s perception and experience of the world. As the son of painter Sam Francis, Shingo also happened to grow up in the heart of LA’s nascent art scene, where artists such as Larry Bell, Robert Irwin, James Turrell, Craig Kaufman and Peter Alexander were utilizing new materials to explore the effects of light on perception. Francis has continued this pursuit with a series of gossamer-like paintings with colors that appear in constant flux, changing as one moves about them. Utilizing interference paints – a medium of crushed, titanium-coated mica that refracts light - the colors in these pieces shimmer and shift depending on the angle of the viewer and the reflection of light. Rectangular shapes conform to the shape of the canvas, creating a framework of change as viewers move. What one sees becomes inherently tied to their particular perspective and the character of the light at any given time. Shingo Francis has been the subject of numerous national and international exhibitions. He was awarded the Fumio Nanjo Award from the Mori Museum in Tokyo and is in numerous museum and institutional collections, including The Frederick R. Weisman Foundation in Los Angeles.

Jimi Gleason has spent his career exploring the reflective possibilities of light. Mixing nontraditional materials such as silver nitrate with pearlescent paints, Gleason’s surfaces are highly reactive to light and shifts in the viewer’s position. His silver deposit surfaces act as enigmatic mirrors that are activated by the viewer and the environment in which they are situated. Light, color and form are in constant flux with the external world, inducing an interactive, meditative experience with the viewer. Jimi Gleason was born and raised in Southern California. He graduated with a BA in Fine Art from UC Berkeley in 1985, later moving to New York. Upon his return to California, Gleason worked as a studio assistant for renowned painter, Ed Moses. Gleason’s work is in numerous public and private collections, including the Frederick R. Weisman Art Foundation, CA, the Laguna Art Museum, CA, and has been exhibited at the Hammer Museum, CA, the Long Beach Museum of Art, the Seattle Art Museum and the Tucson Museum of Art.

Eric Johnson utilizes polyester resin and color-shifting pigments, to create sculptures that are exquisitely sensual and dynamic in how they reflect and absorb light. They recall the materials of the surf and car culture of the late 60s and early 70s in Southern California, employed by many artists like DeWain Valentine, Craig Kaufman and Billy Al Bengston. Johnson embraced the hot-rod culture as well and has made customized car bodies for the Porsche 962 and has lovingly overhauled vintage cars-as evidence by the two toned 1939 Chevrolet panel truck and fire engine red 1934 Ford pickup that sit to one side of his studio. As often was the case for many artists working in the 1970s, industrial products found their way into Johnson’s early studio practice and have remained there ever since. “I’ve translated all that automotive knowledge into making my artwork”,” he says. “I use the full array of auto tools and pigments.” The handcrafted abstract works are sheathed in resin skins, often revealing glimpses of skeletal armatures and hidden architectures. Other influences have been the aerospace industry and an ancestral boat builder heritage. Initially the constructs hid their “bones” under a “skin”, time capsule artifacts within. Over the past twelve years, the structures have become more organic and revealing. The current work merges Johnson’s passion for depth and structure with an obsession for color and surface. Johnson’s work is in the collections of the Oakland Museum, CA, the Laguna Beach Museum, CA, the UC Irvine Museum, CA and the Hamano Institute, Tokyo, Japan.

Jay Mark Johnson has rigorously pursued the possibilities of timeline photography over the last two decades. His artwork captures the fluid gestures of Tai Chi and dance, the rush of cars, trains and people, and the infinite cycling of beachfront waves. But within his images the rules for representing reality have shifted. Shadows are crisscrossed and the relative speed of an object determines its size. Moving objects appear isolated from their backgrounds and the backgrounds themselves have been decimated. In this manner, the results of Johnson’s process become a metaphor for the process itself. Held by prestigious private institutions and public collections throughout the U.S. and Europe, Johnson’s work has been exhibited and collected by the Museum of Modern Art, the Smithsonian Institution, Art Institute of Chicago, Frederick R. Weisman Art Foundation, the Langen Foundation and Zentrum für Kunst und Medientechnologie, Karlsruhe.

Peter Lodato began making work in the late 1960s as part of the West Coast-specific Light and Space movement. Aligned with the concerns of his contemporaries, Lodato first constructed light installations that explored the nature of perception and the way that physical environments could be transformed into immersive experiences for the viewer. Lodato’s paintings evolved from his preliminary drawings for these installations and eventually, Lodato was able to recreate the illusive effect of light with color, form, and canvas alone. Always fascinated by the uncertainty of human perception, and the duplicitous nature of vision, which can be both revealing and deceitful, Lodato creates paintings that delve into this duality. Initially, Lodato’s paintings appear as austere, geometric abstractions. Yet, upon further observation, the paintings begin to vibrate: brushstrokes become evident and the surface reveals that there are numerous layers beneath. The hard edges of his often bi-chromatic works dissipate into sensuous fields of color that seem to push space in and out. Lodato’s reductive, divided compositions are visual confrontations between the planar simplicity of form and the resonance of particular pigments. A disciple of the AbEx color field painter, Barnett Newman, Lodato’s sumptuously colored canvases echo Newman’s concept of using division as a way to merge different areas of the canvas into a sublime whole. Much like Newman’s “zips” of color, Lodato’s vertical bands draw the viewer deeply into the picture plane, causing them to intensely experience the work, both physically and emotionally. The Frederick Weisman Foundation curated an extensive solo retrospective of Lodato’s work in 2000 and his work has been exhibited at the Whitney Museum of American Art, the Museum of Contemporary Art in Los Angeles and the Los Angeles County Museum of Art. Peter Lodato is in numerous esteemed collections both public and private including the Brooklyn Museum, the Seattle Art Museum, the Dallas Museum of Art and the San Diego Museum of Contemporary Art.

Andy Moses, utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint. The paintings that emerge articulate the abstract nature of perception, reaching beyond the material and tapping into the visceral. The images reveal undeniable traces of natural phenomena, seeking not to replicate the natural world, but to replicate the forces of nature itself. The artist’s complex process of mixing and pouring paint conveys a sense of undulating energies pushing and pulling within the rectilinear and circular forms of the canvases themselves. The paintings are sweeping and luminescent, their lustrous surfaces seemly executed with an impossible combination of absolute precision and wild improvisation. Meandering lines of psychedelic chroma oscillate between vivid sharpness and dissolving washes of color, achieving works of captivating presence. Viewing the work from multiple perspectives, one is swept into an interactive dance, as light plays across the surfaces in lustrous, ever-changing hues. Andy Moses is in numerous important private and public collections, including the Frederick R. Weisman Art Foundation, CA, the Los Angeles County Museum of Art, CA, the Laguna Beach  Museum, CA, and has been exhibited at the Laguna Art Museum, CA, the Bakersfield Museum of Art, CA, the Lancaster Museum of Art & History, CA, the Frederick R, Weisman Art Foundation, CA, and California State University. He received his BFA from Cal Arts and lives and works in Venice, California. Andy Moses just enjoyed a survey exhibition at the Santa Monica College Pete and Susan Barrett Art Gallery that explored 30 years of his artistic output.

Roland Reiss was born in Chicago in 1929 and had a long and influential history in the LA art scene. Reiss’ early work owed a lot to Abstract Expressionism, but while he was teaching at the University of Colorado in the late 60s, Reiss began experimenting with the dynamic properties of resin and new plastic materials to explore their interactive properties with the viewer. Reiss soon moved towards making work informed by the Conceptualist movement of the 70s, but he had a profound impact on one of his students, who also began making resin sculptures. That student was DeWain Valentine, who would become one of LA’s most significant Light & Space artists. At the apex of his career, Reiss felt “I have no more stories to tell.” As critics and curators declared painting dead, he had already started investigating hundreds of studies for painting. His intent was to “take painting beyond where it has been,” believing it is impossible to deplete the possibilities of any medium. What seems like the product of gestural spontaneity are actually extensively rehearsed moves. He describes his work as “energy fields and spaces in which forms are operative and you can interact with visually. ”After earning BA and MA degrees at UCLA (1952-56), he taught at the University of Colorado, Boulder, and, in 1971, was named Chair of the Art Department at Claremont Graduate University. At CGU he held the Benezet Chair in the Humanities, and in 2010, an endowed chair in art was established in his name. His work has been exhibited internationally, recognized by no fewer than four NEA Visual Arts Fellowships, among many other honors, and is to be found in the permanent collections of major museums and private collections in this country and abroad, among them the Hammer Museum, CA, the Oakland Museum, CA, the Laguna Beach Museum, CA, and the Orange County Museum of Art, CA.

September 14 - November 2, 2024
Opening Reception: Saturday, September 14, 4-8PM

PETER LODATO: DIAMONDS/DIVISIONS/VOIDS - Exhibition Catalog Now Available

Santa Monica, CA - William Turner Gallery is pleased to present, solo exhibition of exceptional new works by Peter Lodato, opening  January 13th, 2024. 

Peter Lodato’s (b. 1946) artistic journey reflects an evolution, from immersive light installations, to captivating paintings that explore the complexities of human perception over the course of his six decade-long career. In addition, Lodato would himself influence a number of artists, teaching Art History at Art Center in Pasadena, and University of California Irvine with notable students such as James Turrell and Chris Burden.

His initial foray into art consisted of environmental light installations,  characteristic of the West Coast's Light and Space movement in the 1960’s, which sought to transform physical spaces into immersive experiences for viewers. He credits the Roman Pantheon’s oculus for his interest in interpreting his experience. This body of work led to his inclusion in the 1981 Whitney Biennial.

As Lodato transitioned back to painting, he carried forward his fascination with perception, creating works that initially appear as austere, geometric abstractions but upon closer inspection, reveal layers, brushstrokes, and vibrant colors that play with space and depth. The dichotomy of vision—its capacity to both reveal and conceal—serves as a thematic cornerstone in Lodato's artistry. His reductive compositions, often featuring divided forms and bold colors, engage viewers in a visual dialogue between simplicity and complexity. Inspired by the Abstract Expressionist’s Mark Rothko and Barnett Newman, Lodato's use of vertical bands of color draws viewers into the canvas, inviting them to experience the artwork both physically and transcendentally. Hard edges feather out into diaphanous atmospheric vapors, creating luminous, Color-field suspensions floating on a colored ground– the formal consequences appear to both recede and project, dematerializing the art object and simultaneously constructing a void of flat, hard-edge, matted pigment. The artists hand is evident in the textural materialization of paint executed with an expert hand. In reasserting the picture plane in favor of the flat form, the abstractions are not in fact “subjectless”, regardless of their  reductive nature, they are intended to elicit a deep emotional response and expose the paradoxical nature of human perception.   

Informed in part by Eastern philosophy, Lodato’s palette observes the color schema assigned to the various corporeal chakras and their corresponding color assignments. Red for example symbolizes the root chakra at the base of the spine, characterizing strength and vitality, whilst white on the other end of the spectrum, illustrates the crowning light of spiritual wisdom.    

Lodato holds a Graduate degree from California State University. His artistic contributions have been recognized through a solo retrospective curated by the Frederick Weisman Foundation (2000), and exhibitions at prestigious institutions such as PS1 in New York City (1978), Whitney Museum of American Art’s Biennial (1981), the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art. His works grace esteemed collections in various public and private institutions, including the Brooklyn Museum, the Seattle Art Museum, the Dallas Museum of Art, and the San Diego Museum of Contemporary Art. This extensive presence in renowned collections underscores the impact and significance of Lodato's artistic vision within the realm of contemporary art. He lives and works in Venice, California.

ERIC JOHNSON: MADAME X - Exhibition Catalog is now Available for Digital Viewing

William Turner Gallery is pleased to present Madame X, the digital exhibition catalog for Eric Johnson’s current solo exhibition at William Turner Gallery.

Eric Johnson attended Valley College; California Institute of Art and received his Masters of Fine Arts degree from University of California at Irvine. Johnson’s work is in many public and private collections, including: Oakland Museum; Laguna Beach Museum; Museum of Art and History (MOAH); Lancaster, CA; C.B.S. Broadcasting, New York, NY; Digital Domain, Venice, CA; Mary Barnes; Leonardo and George DiCaprio; James Cameron; Homeira and Arnold Goldstein, among others. Eric Johnson was born in Burbank, California, where he continues to live and work.

Eric will be at the gallery for the closing of the exhibition this Saturday from 3-5pm. He will speak briefly about his work and we will be taking orders for signed copies of the exhibition catalog. To receive a copy of the catalog please contact the gallery at 410-453-0909 or by email at info@williamturnergallery.com.

VISUAL ATELIER 8 - An interview with Casper Brindle, Master of Light, Color, and Sensory Exploration

VISUAL ATELIER 8

An interview with Casper Brindle, Master of Light, Color, and Sensory Exploration

Image: Rob Brander for William Turner Gallery

Exploring the enchanting world of Casper Brindle
Jaimy Favela Le

Casper Brindle, a contemporary artist rooted in the 1960s & 70s Light and Space movement, explores the expressive possibilities of color, light, and form in his paintings. From vibrant technicolor to subtle monochromatic hues, Casper Brindle’s work consistently features a central focus, drawing viewers into enigmatic spaces of perception. Influenced by the Finish Fetish and Light and Space movements, he masterfully employs color reminiscent of Mark Rothko and Jules Olitski, creating immersive fields that evoke deep emotional responses.

Casper Brindle’s paintings, influenced by Southern California’s car culture, utilize airbrushed sprays for atmospheric depth, demonstrating a synthesis of diverse artistic sensibilities. Born in Toronto in 1968, Brindle, now based in Los Angeles, has exhibited internationally and is held in prestigious collections like the Frederick R. Weisman Art Foundation.

It is an incredible occasion to be able to chat with Casper Brindle about his awe-inspiring and sensory artwork! We would love to know what you think your child-self would think of you now as such an accomplished artist? What do you think little Casper would say to you? And what would he think about your expansive body of work? Is he glowing with pride?

Thank you for the kind words. I think Little Casper would be happy with my accomplishments so far. There is something innately childish about being a professional artist. Experimenting and “playing” with the materials in front of you. I could compare it to the feeling of playing with toys in the preschool sandbox. I am forever grateful to have had such a supportive mother, a terrific illustrator and designer in her own right. I’m deeply fortunate that I am able to make a living doing what I’m very passionate about.

What a wild trip it is to take in your illuminating works that seem to unfold more of themselves, the more you spend time with them and interact with the space them. We would love to know more about how you went from utilizing LED tubes for lighting up a painting to now being able to skillfully achieve an effect of illumination by using only color. What was the process like for you personally?

Yes, for years I was incorporating and embedding LED lights into my paintings and never really found what I was looking for. I was yearning for a certain magic, a more organic quality which the artificial light provided by the LEDs could never achieve. What most interests me is the manipulation of light, whether it be with refraction in an encapsulated form, such as the light glyphs, or using paints that intentionally transform as you walk around the works. Materiality is a primary principle of my practice as I have spent years experimenting with the applications of different materials.

Your work speaks to the auras felt when perceiving colors, light, a core, and atmospheric spaces. Contemplation about perception and connecting with the presence are a couple things that come from immersing oneself in your body of work. Do you think your work reflects these experiences from the living world or is it its own concentration of sensory conjuration?

Both. I think the materials are a grounding force for the pieces, whereas the treatment and color perception of the materials allow for the pieces to become almost otherworldly. However, the orchestrated fabrication of the pieces reflects the organized chaos of both the natural and the built environment that surrounds us.

What dream settings do you envision your colorful works in? Are there particular places in the world that you hope to bring your art to?

Of course, artists are always fantasizing about ideal settings for our work – Museums, major collections, within prominent public and architectural venues. I am no different and have been thrilled to have my work acquired and shown by museums, like the Weisman Museum, The Luckman, Lancaster Museum of Art, the new Frank Gehry hotel in LA and by a number prominent collectors. Looking ahead, I have an exhibition planned in Brussels at Gallery La Patinoire Royale, Valerie Bach, in April of 2024 and will be showing new paintings and sculpture that I am presently working on and excited about.

Soon following, I will be focused on my Los Angeles exhibition in September at the William Turner Gallery. Possibly less traditionally, I’d love to explore placing my work in “atypical” settings: a foggy forrest, a beach, a desert. Changing the context changes the piece. A glowing object in the middle of nowhere tells a much different story than a painting hung on a white wall of a gallery. Hmm, could this be a short film? You’ve got the wheels turning!

We also know that you are also a sculptor. Can you divulge a bit about how this way of creating your art differs in from how you approach making your paintings? Taking something that you typically form on a 2D surface to a 3D realm?

The three dimensional work is more of an elaborate, organized process, compared to the typical trance I’m in while I’m painting. With my paintings, I’m just going on rapid fire instincts in a meditative state. With the sculptural work it’s about logical problem solving. Like a puzzle. The Light Glyph sculptural works are expanded iterations of the Portal Glyph paintings -They just extend into three dimensions. Both explore the same theory, but within different mediums and materialities.

Maybe a comparable example is the painter as an actor and the sculptor as the director in theater or film. The actor is always reacting to a situation in front of them instinctively, but the director (sculptor) is planning the entire vision out before the production has begun. Two different processes for me, neither better than the other. Although, I enjoy the visceral process of painting more, both outcomes are equally fulfilling.

What does abstraction mean to you? Describe to us the way you philosophize the human senses in response to abstract visualizations that imbue a particular experience.

I’m in search of something beyond, something that can be truly simple and complex. Making my work is a selfish act, as I’m making the painting or sculpture solely for myself, to release it from my mind, without thinking about how they will be seen or felt. It’s a place where I can be hyper focused yet, in a meditative state. The artwork may be used as a conduit for the viewers own experiences, but I would never force a narrative onto them. Abstraction to me is being free of story telling or narration. To create a work based on raw emotions or even lack of emotions. Free of rules. The freedom to dance any way you like.

What does the process of dreaming up a painting or sculpture look like for you? Is it the case that the end result always matches the first drop of inspiration?

My paintings or sculptural works come to me usually in solitude, whether that be just before bed or alone in my studio. With my paintings, I may have an idea to explore, but rarely do they end up visually resembling my initial thoughts. I find in painting the decisions are made quickly and based on instinct. Sculpture for me is a much more thought out concept as you are dealing with construction and fabricating a well explored object with prototyping all while aiming to achieve the concept that was originally in my head.

What has been a major highlight for you as an artist so far? What sort of new things are you seeking to further your creative endeavors? Any personal revelations that you wish to share over the years?

My highlights constantly change as I grow, but a recent noteworthy highlight was working with Mika Cho who curated my Museum exhibition at The Luckman space at California State University Los Angeles. It was a phenomenal show and experience. Cho’s execution
and presentation were terrific. Constantly thinking of new ideas, projects, materials and collaborations, I know there is always something inspiring around the corner. It’s important to do the work you enjoy as opposed to chasing trends. I believe that if you do your own thing, a thing you are truly passionate about, everything will eventually fall into place.

ANDY MOSES: Recent Paintings - Exhibition Catalog Now Available

A 68 page fully illustrated print copy of the catalog will be available next Tuesday. Please contact the gallery to purchase a copy at info@williamturnergallery.com.

William Turner Gallery is pleased to present the exhibition catalog for Andy Moses: Recent Paintings, a compelling exhibition of new large-scale works by Los Angeles-based artist, Andy Moses. The exhibition will run from September 9th through November 11th, 2023.

Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abstraction and a new kind of pictorialism, Moses utilizes techniques that facilitate his almost obsessive study of the alchemical properties of paint.  

Utilizing a method that is completely unique and developed outside the realm traditional painting techniques, Andy has pioneered a new language of paint, one with its own tools and materials.  Every element of these pieces have been painstakingly examined.  Technology in the form of complex vacuum sealed chambers has been invented to assist in producing the works and even the structures on which the painting rests are extraordinary engineering feats of their own.  The end result are stunningly beautiful, highly crafted, and perfectly executed works of art done in a method that has never been seen on any painting in the entire history of art.  

Born in Los Angeles in 1962, Andy Moses attended the legendary CalArts from 1979-1981, studying with John Baldessari, Michael Asher and Barbara Kruger. In 1982, Moses moved to New York where he worked as a studio assistant to Pat Steir and quickly became part of New York's nascent art scene. Moses began exhibiting with Annina Nosei Gallery, shortly after Jean-Michel Basquiat. During that time Moses also developed close ties with artists such as Jeff Koons, Marilyn Minter, Rudolf Stingel and Christopher Wool, who were also just emerging onto the scene.

“I’ve always loved Andy’s work. It’s interesting how it embraces many dialogues within the history of painting, from nature, landscape and science to abstraction. The paintings embrace everything while at the same time a sense of negation is always present. This polarity allows you to discover your relationship with the work itself. There’s always a sublime beauty within the work. The commingling of time and space, both real and abstract, is one of the the most relevant aspects of Andy’s work to me. Moses’s work is powerful and extreme, from the beginning to today, in concept and execution.”

- Jeff Koons

Andy Moses’ work is included in the permanent collections of Los Angeles County Museum of Art, Orange County Museum of Art, Laguna Art Museum, and the Frederick R. Weisman Art Foundation.   Andy will be the subject of two forthcoming museum exhibitions one at the Lancaster Museum of Art and History and the other at the Laguna Art Museum and was recently the subject of a 30 year survey at the SMC Barrett Gallery.  

ANDY MOSES: RECENT PAINTINGS - Saturday September 9, 5-8PM

ANDY MOSES: RECENT PAINTINGS
September 9 - November 11, 2023
Opening Reception: Saturday, September 9, 5-8PM

PRESS: LA WEEKLY - MEET LIGHT FIELDS PAINTER CASPER BRINDLE

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MEET LIGHT FIELDS PAINTER CASPER BRINDLE

Abstract painter Casper Brindle renders pure color in aerated layers that capture and refract light, creating breath and a sense of motion with their awe-inspiring luminosity. Heartily influenced by the legacy of the Light and Space movement—which embraced the qualities of wonder in newfangled materials like resin and airbrush, as well as the imagination-fueling advances in interstellar travel—Brindle updates that art historical framework with a modern-day love of the surf and car cultures of his Los Angeles youth. Using automotive paint to enhance that space-age shine as well as an elusive sense of nostalgia in the super-charged palette, Brindle layers delicate coats which seem to capture light in between—later to release it to viewers in an eternal glow. Seeming to change as the viewer moves past them, and carrying the illusion of distant horizons or doors (of perception) as a framework, the magic in Brindle’s canvases actually happens in the eye of their beholders.

By: Shana Nys Dambrot - June 12, 2023

HYPERMODALITY - Casper Brindle @ THE LUCKMAN - CAL STATE LA

Casper Brindle, Light Glyph, Light Glyph VF, 2022, pigmented acrylics, 44 x 74 x 12 in.

Curated by Mika Cho
On view September 29 through November 19, 2022
The Luckman Fine Arts Complex at Cal State LA

Artist Reception:
Saturday, October 8, 2022 at 5:00 pm

With great pleasure, I invite you to the exhibition “Hypermodality” which highlights the selected work of Casper Brindle. The exhibition opens on September 29, 2022, at the Luckman Gallery in the Luckman Fine Arts Complex at Cal State LA. Casper Brindle is well known and has long been admired for his aesthetical experiments on color, light, and form. The varied structural arrangements of his compositions, partly reminiscent of the Light and Space movement, transcend the circadian and engender metaphors that unfold various Interpretative and ontological values. The simplicity of Brindle’s work is impressive as it gives rise to mystery - a mystery that can only be called sublime.

Mika Cho, September 2022

“Brindle’s art turns our attention to its minimalist composition as much as despite its luminous, disembodied color and pristine, machine-tooled surfaces. He does not set our eyes afloat in unvariegated light, but thwarts such an optical free fall, deliberately compromising the “ganzfeld” – the surrounding light ambience – with strongly posited horizontal and/or vertical devices. These structural devices encourage our eyes to apprehend the visual field either as a recessional space or as a surface structure. Brindle does not set up an ongoing dialogue between vertical and horizontal works, or even between the verticals and the horizontals occurring in the same works; rather, he proposes the physical and metaphysical presence of each from the outset as contrasting discourses. This is not Light & Space; it is Light WITH Space.”

Peter Frank, September 2022

The Luckman Gallery | Public Viewing Hours
Wednesday through Saturday
11:00 am until 5:00 pm

The Luckman Fine Arts Complex at Cal State LA
5151 State University Dr, Los Angeles, CA 90032
(323) 343-6600
www.luckmanarts.org

ARTIST RECEPTION - SATURDAY, OCTOBER 8, 2022, 5 - 8 pm

SEPTEMBER 29 – NOVEMBER 19, 2022