The title of the main gallery exhibition, El Dorado, suggests that art-making is a journey, if not a quest, to the limits of the imaginable. The history of painting, in particular, has been defined by the idea of painting as an artistic epic and that painterly practice is an arena in which individuals prove themselves and leave their mark. Holly Coulis’ canvases evoke painting as a dream world, the characters of which are actors in a continually evolving drama. Alison Fox explores the painting’s fractured perspectives and modes of representation using a multitude of painterly styles. Angelina Gualdoni depicts abandoned shopping malls and other failed structures, recalling the utopic and distopic history of painting and modern society. Portia Hein’s abstracted lotuses, tree branches and sunflowers explore not only the thing represented, but also the artist’s trace.
Amanda Ross-Ho is also interested in individual experience, interpreting it through the lens of contemporary culture’s mass-consumer, product-driven flow. Her exhibition in the rear gallery locates sites of artistic action and personal significance, proposing relationships between a range disparate objects and experiences. Though Ross-Ho often couches her practice in relation to painting (whose language for action and individual experience is so well articulated), her work encompasses not just painting, but also photography, drawing, sculpture and installation.
Amanda Ross-Ho received her BFA from the School of the Art Institute, Chicago, IL, and her MFA from the University of Southern California, Los Angeles, CA. Her work has been featured in Hella Chihuahuas as a part of Platform China, Beijing, China; Drunk vs. Stoned at Gavin Brown’s Enterprise, New York, NY; Uncovered at the Museum of Contemporary Art, Chicago, IL; and The Earth is Rotating with This Room As Its Axis at the Soap Factory, Minneapolis, MN.
(Cherry and Martin archive)
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Philip Martin Gallery 2712 S. La Cienega Blvd. Los Angeles, CA 90034 +310-559-0100 firstname.lastname@example.org