Beyond Plastic continues...
Continuing the exploration of the evocative potential of plastic, artists Rob Strati and Benicia Gantner present works which are, however, more removed from the world of domestic reference. Bay Area expatriate Strati, now returned to his native Ohio, presents a series of works called "Fold," also wall-mounted sculptures. These turn hard edged geometry on end and bend it into fallible, weightless constructions of clear packing tape and wire. These slight-of-hand pieces have enormous presence; those who have made recent visits to SFMOMA will surely be reminded of Richard Tuttle's exhibition, as well as works made of cellophane tape by SECA award recipient Rosana Castrillo - whose take on tape is vastly different.
Gantner presents two "paintings" of vinyl and Plexiglas, "Cut Gold + Ruby, Laden," and "Cut Silver + Green, Poised" in which the vocabulary of L.A. Finish Fetish art becomes the vehicle for elegant "floral" works with spiky branches and buds formed by geometric snowflakes. These works are actually layered constructions of intricately cut vinyl and colored Plexiglas. Gantner also presents "Cut Pearl," a "drilled acrylic" work where straight, irregular grooves form bands of color on a long horizontal acrylic slab. Colors from seashells - pale pink, rose, peach, pearlized white - give this work a sensuous, vulnerable quality - although materials and technique remain as hard as nails.
The exhibition is rounded out by mixed-media pieces by New York artists Jil Weinstock and Julie Allen. Weinstock's "Long Weekend" is a knockout piece using long, colorful zippers hung like a drape or curtain on the wall. The upper third of the zippers is encased in a thick slab of rubber. Allen presents a trio of small cakes made from pearlized balloons and thread, their drooping forms evoking visions of mini-Claus Oldenburgs. The shiny surface and yummy, confectionary colors whet our appetite, as the prospect of munching on latex makes us a little queasy.
In Limn's right gallery we find Dean De Cocker's "Pinpoints in the Pacific," abstract sculpture with titles drawn from World War II battles in the South Pacific. De Cocker explains that his interest in aircraft construction to some degree motivated both the architecture as well as the titles of these works. Lively geometric forms in white, green, black, and brown, they make generous use of plastic and rubber, giving this work the feeling of a natural extension of the exhibition next door.
As resources are depleted and traditional artists' media, such as painting and sculpture, may feel increasingly played out, we can expect to see more and more artists turning toward new media, recycled materials, and hybrids of traditional and non-traditional methods and materials. The contemporary, generally tongue-in-cheek attitude displayed by this grouping of artists is refreshing and upbeat, expressed in synthetic works which reveal remarkable levels of sophistication and subtlety.
"Beyond Plastic" closed in September at Limn Gallery, San Francisco.
Barbara Morris is a contributing editor to Artweek.
