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Los Angeles

LAXART

Exhibition Detail
The Time Machine and Asexual Clone Mutation
2640 S. La Cienega
Los Angeles, CA 90034


November 5th, 2011 - December 3rd, 2011
 
Asexual Clone Mutation (for our father), Bruce YonemotoBruce Yonemoto,
Asexual Clone Mutation (for our father),
1995-2004 , gold-leaf petal, vase, red carnation, dimensions variable
© Courtesy of the artist, the Eileen Harris Norton Collection and LA>
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NEIGHBORHOOD:  
culver city/west la
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TAGS:  
film, installation, sculpture
> DESCRIPTION

In Gallery One, LA><ART presents a new iteration of Bruce Yonemoto’s The Time Machine. Combining a film projection with a sculptural element, the installation treats film as both subject and medium, while exploring notions of memory and decay. The Time Machine, a 16mm film projection, depicts time-lapse and Claymation images of a flower within the same frame, collapsing the two modes—a real, blooming flower that eventually wilts, a false, wilted clay flower that eventually blooms. This double cycle sequence is repeated in an endless loop, ad infinitum. The work references H.G. Wells’ 1895 science fiction novella The Time Machine. Where Wells’ literary work describes the fantasy of time travel, Yonemoto’s filmic version of the Machine references director/animator George Pal’s 1960 classic film as well as a more specific and personal collapsing of time and memory.

Asexual Clone Mutation (for our father) encompasses a spot-lit red carnation featuring a single golden petal; a metaphor for the perverse pursuit of something flawless. A sculptural literalization of the biographical, the carnation references the Yonemotos’ grandfather and father, who were both horticulturalists, specializing in the Sim variety of carnation grown in what is now Silicon Valley. Through mutation and cloning, the flower becomes streamlined, rid of disease and imperfection. The carnation here is either the realization of a perfect fantasy, or the representation of an unattainable ideal. Bruce Yonemoto’s Asexual Clone Mutation (for our father) negotiates reality and fiction, an exercise expanded in his collaborative work with his brother Norman Yonemoto.


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