170 S. La Brea Avenue, (In the Art 170 Building), Los Angeles, CA 90036
Los Angeles, CA. April 6, 2009 – Merry Karnowsky is thrilled to present Edward Walton Wilcox’s first solo exhibition with the gallery from April 25 through May 23. Wilcox may be the latest addition to Karnowsky’s impressive stable of artists, including Shepard Fairey, Camille Rose Garcia, Todd Schorr and Kent Williams but he’s not completely new to the scene. Matt Gleason, editor and founder of Coagula Art Journal, recently wrote, “Edward Walton Wilcox is painting humanity’s self-induced apocalypse, one masterful sepia tinted brushstroke at a time. His solo show at Merry Karnowsky Gallery this Spring will be his introduction to the big-time, but plenty of ghoulish hearted Angelenos have been digging his wicked brand of karmic comeuppance he has served across the wicked landscape.”
Well-known for being a major player in the development of the pop-surrealist, “low brow” genre also known as the LA School, Merry Karnowsky appears to be introducing us to yet another dimension with Wilcox in terms of style, content and diversity of mediums. Wilcox’s work is hauntingly beautiful, and overt in its reference to Gothic convention, in both content and physical facture. Wilcox’s use of primitive materials, such as wood, glass, rabbit skin glues, Italian pitch and gesso lend an old world authenticity to the crockets, tracery and other conventions of gothic carpentry that caricaturizes the multi-disciplined art of Edward Walton Wilcox. At Wilcox’s first solo show in 2006 at the Van Brunt Gallery in Beacon, New York, Carl Van Brunt stated, “Intelligent, intense, obsessive and very talented, Wilcox can draw, paint or construct anything from his fertile imagination. His gothic sensibility covers everything from Medieval-style altarpieces to dark parodies of Renaissance portraits, to landscapes that summon-up 19th century horror novels. Beneath all the pyrotechnics is the work of a serious artist, gently jolting the viewer out of conventional thinking and predictable ways of seeing.”
When asked about his own work, Wilcox explains, “As I struggle to understand this modern world a parallel is drawn between myself and the artists of the Romantic period. Their charge was to engage the human spirit or psyche in an age of progress and technological advances. These (works) are imagined histories; a place where simplicity and an almost primitive nature converse with one’s soul; a place where dreams open out onto a landscape of the unconsciousness drawing a well of emotions so often suppressed in the confusion of the present to otherwise not be experienced. To loose oneself in a painting is to arrest time itself. I think of them as lamentations of a lost paradigm that may have ever only existed in my mind.”
The exhibit runs through May 23. Opening reception Saturday, April 25, from 8-11pm. 170 South La Brea Avenue, Los Angeles, California 90036
For more information contact Merry Karnowsky at email@example.com or go to www.edwardwaltonwilcox.com
Edward Walton Wilcox studied painting and sculpture at the University of Florida, Gainesville graduating with High Honors. Wilcox has been featured in publications such as the LA Times, Art and Living, FLAUNT Magazine, THE Magazine for the Arts, Art Ltd., Coagula Art Journal, and Juxtapoz. His work can be found in private and public collections across the United States and abroad.
Merry Karnowsky is home to several of the most significant artists working today. Founded in 1997 by Merry Karnowsky, the gallery has had a central focus for nearly a decade; championing emerging and mid-career artists who push beyond the boundaries of their medium. The Gallery is devoted to exhibiting contemporary works of art that are challenging, innovative and committed to fostering new directions in American Art. With a creative stable that is one of the most significantly sought after both nationally and internationally, the gallery has become one of Los Angeles’ premier maverick art venues.
Articles about the gallery, and/or it's artists have been featured in Juxtapoz, Swindle, Flaunt, Paper, Nylon, The Face, Variety, Giant Robot, Super X Media, Art Week, Art Issues, Modern Painters, The New York Times, The Wall Street Journal, Time Magazine, LA Weekly, and The Los Angeles Times.