Archive for February, 2009
Kamrooz Aram’s paintings have a lot going on in them—explosions, showers of light, flights of nimbus-headed angels, flapping flags and pennants, whizzing snail-shaped clouds, flowers spraying from camouflage, flames shooting from vegetation and looming falcons, slurries of color drooling and dripping through spaces, shreds of bright matter wheeling in glistening skies.
Velocity and visual amplitude typify this artist’s canvases, as if he were fixing as many elements of a rapidly mutating dream as he could remember. Not that they’re formally chaotic (or invariably packed with incident); Aram is usually partial to symmetry and internal pictorial logic. Crypto-Abstract Expressionist veils and drips combine with things that are unmistakably things; the style of his work as well as its manifest content effect a hybrid-ization we could liken to a familiar but not-quite-nameable, liquefying plant, maybe one that swallows live prey.
Aram was born in Iran in 1978 and has lived in the United States since age eight. His work riffs on imagery found in Persian miniatures and carpet patterns, Shiite posters and Arabic writing, but this material figures in contexts where original cosmological systems or hortatory meanings dissolve, or blend with Western analogues. There isn’t a pointed collision of cultures in Aram’s pictures, but rather the fluid synthesis artists conjure from what they encounter in waking and dreaming life, which can be events of trauma or epiphany or, just as easily, the casually registered minutiae of a walk down the street. (Excerpt from Kamrooz Aram: Uneasy Delights By Gary Indiana. For the complete article please click the link above.)
Like his relationship to the viewer which is preconceived distortions, Burdin obfuscates any conformability of the familiar as avoidance to the static and mundane leaving his creations critically and psychologically challenging, long past the last note of exhibitions end. Burdin’s stealth routing between fact and fiction feels both deliberate and sincere. He leaves you with no choice but to succumb to his trip, which appears as a very abstract and subversive concerto. Once you’re in or locked out the door – sometimes you just cant get in – the adventure begins.
For this exclusive bi-coastal exhibition, a first in the history of contemporary art, Burdin will simultaneously exhibit in two separate spaces, large scale pencil drawings, stenciled paintings, textile works, sculpture and two video pieces. Both, world premier video works have never been screened since their conception. One, a very early Desert Mix episode, A le UNK Autopsy (1999), events a vague subversion correlating the absurd faux-reality UFO/alien television hoax with notions of contemporary art hierarchy, and the underground existence where Burdin primarily records and produces.
The center piece of the exhibition involves an installation/performance which can be viewed in the Los Angles location where Burdin has never had a solo show -This bi-coastal event keeps that track record – untainted. In claustrophobic display, the ghostly structure JUNK TOMB CRYPTOS VII IV VIII -VII IV IX (2009) , surreally houses the lore and legends appropriately blanketed in dust.
The exhibition will be on view over a two month period beginning Sunday March 1st, where it launches in Los Angles and tremors next to the New York sector, grand opening Friday March 6, with all venues closing May 1st .