Rosamund Felsen Gallery is pleased to announce a unique exhibition of new works by two Los Angeles-based artists: Lavi Daniel and Grant Mudford. Neither an overt collaboration, nor entirely discrete projects, the two artists are showing works together now because each has found an affinity for the other’s current compositional and ethical approach to art-making. In our first two gallery rooms, Lavi Daniel will display over a dozen new paintings alongside five small sculptures. In our third gallery will be a series of photographs by Grant Mudford.
Taking as a point of departure Sassetta’s 15th Century painting, “The Journey of the Magi,” Lavi Daniel’s new body of abstract paintings maintain the diagonal lines, conflated spaces, and rich coloration of the Sassetta piece, but has immediately diverted away from figuration entirely, making for a series of chromatically intense, distinctly opulent paintings that seduce the viewer into a fluctuated, wobbly mode of perception. In these paintings, both shape and color indicate their own discrete and fleeting spatial relationships, and this fluctuation – between, say, fore- and background – asserts itself as a declaration for attuned spontaneity. Lavi Daniel is not painting any thing, but rather ordering forms along progressions in space. Like his paintings, Daniel’s new group of sculptures confounds space. Each sculpture is built up and formed from various clusters and globs of used paint found in his studio, creating a rich and colorful mass that induces some of the same intense chromatic and phenomenal intricacies of his paintings. The difference is that with these sculptures, form and volume are now literalized, marking the reactions to physical space and its limitations; these sculptural works also act as a kind of compositional amalgam of Daniel’s own paintings on one hand, and Grant Mudford’s photographs on the other.
Grant Mudford began the project of photographing Lavi Daniel’s garden some years ago. Many of the plants and flowers in Daniel’s garden originate from Mudford’s native Australia. What perhaps began as a nostalgic impulse to be reminded and immersed in the sights and scents of childhood memory became a series of stunning color photographs that share many of the most salient qualities of Daniel’s work, but that nonetheless remain resolutely depictive. Delicate contrasts between tones, textures and shapes, and sweeping, diagonal compositions are syntactically analogous to the work of Daniel. After a careful viewing, the photographs and paintings appear to be in some kind of nuanced dialog with one another, alerting us to the meaningful correspondence of otherwise disparate practices.