98ten Fine Art is proud to present Dismantling Data, a group show of new works by three Los Angeles-based artists: Greg Colson, Jenny Herrick, and Asad Faulwell. This exhibition explores the visual rhetoric of our political and social environments by means of extraction, investigation, and even experimentation, for instance in Herrick's works, through the creation of a modular universe. For Colson, Herrick, and Faulwell, media and public information are as swiftly absorbed into their vocabulary as they are powerfully dismantled through their vigilant and faithful analysis. For this exhibition, Colson provides 4 new works on pigment print, Herrick 3 new works on gouache on paper in addition to her Yale MFA thesis works, and Faulwell 4 new works of acrylic/collage and ink on canvas, in addition to his Claremont MFA thesis work.
Colson overlaps clippings of images taken from newspapers, public signs, and various media that directs to a single subject, for instance, safety and security, raising questions of its intent, purpose, perhaps even its unpremeditated creation of mass hysteria and panic. His composition is deliberately unbalanced and disorganized, and while each image taken apart from its whole seems straightforward enough, Colson's cool yet wary selection of public information effectively engages the viewer to dialogues of social and political agendas - or propagandas - by stripping away the predictably formulaic and vapidness. An old advertisement with water stain markings shows a pair of fluorescent orange traffic cones for sale, surrounded by other collaged images of airbag safety instructions, fire extinguishers, seatbelt signage, safety pins, a pedestrian sign of "slippery-when-wet" and alike. Are these messages really about safety, and how do we measure security in an ever-shrinking world ? Can a pair of $6.49 traffic cones deter fatal accidents? Colson deftly employs public information with outcomes of irony and tragic comedy.
Herrick synthesizes elements of graphical data, bio-science, knowledge, and architecture to create works that are technically meticulous, verging on a preoccupation to a lab-precise perfection. Their outcome, however, is anything but clinical. Herrick generates playfulness in her works, commenting on both political and cultural realities without getting heavy-handed and didactic. Her earlier MFA thesis work entitled, Infinite Regeneration: Exponential shrinkage Over
Quadratically Decreasing Increments of Time, is an impressive, if not a daunting, diagrammatic visual exploration of language using pipelines to underpin units (i.e. house, commercial building, school, etc) of our society into the smallest and most reductive state possible. Shooting Circle is yet another example of Herrick's mental and creative agility to create 6 male figures positioned in a circle, each pointing a rifle to the man standing next to him. They are, collectively, dead men standing, yet Herrick's fine brushstrokes and composition, in contrast, show harmony and beauty in the farcical image, ridiculing violence, power, and man-made struggles.
Asad melds painting, collage, and writings in Farsi, underscoring the long historical factions in the Middle East and raising dialogues of its prominent if not conflicting religions of Christianity, Islam and Judaism. Asad evokes a sentimental attitude towards political and social matters that are otherwise ugly, polarizing, and hypocritical. By creating pockets of pictorial spaces throughout his canvases, Asad is able to blend expressionistic brush strokes with the more lighthearted paper collages from newspaper clippings showing, for instance, Mossadegh's face, Iran's 1st democratic-elect leader. The choice in Asad's vivacious colors, form and composition is nothing short of the artist's ability to transcend the regional conflicts of Middle East into a purity of relationship between art and humanism.