Richard Telles presents an exhibition of new work by Dan Finsel\, his first solo exhibition with the gallery. The installation features mandala paintings\, large-scale photographs on which paint was applied\, and three table-like sculptures\, among other works\, all of whose details feature a vocabulary of symbols intertwined by Finsel' s internal logic. He developed this symbology while performing the exercise s described in the book The Inward Journey / Art as Therapy for You by Margaret Frings Keyes (1974)\, which was found in his parents’ book co llection. Finsel’s new body of work departs from his last in surface conten t but continues to employ an interpretation of method acting techniques to inhabit hidden aspects of himself. In doing so\, he undergoes almost “extre me” subjective altering processes. By displacing his current self\, he graf ts “logically” determined psychological attributes/motives—depending on the reference material—to his thinking.  Thus by determining the psychology of a subject “who would create this work”\, Finsel sees not only the elements of his performance as furthering an intended motive of meta-narrative and authorial play\, but allows\, in retrospect\, for access to recesses of sel f that until now were previously unknown.

Upon entering the gallery space\, the viewer is confront ed with a painted pattern on the gallery’s large closet doors behind the fr ont desk. Having been appropriated from the cover of The Inward Journey \, Finsel foreshadows the gallery space as a physical infiltration of the book itself\, albeit with different images and objects inside. Three ta ble-like sculptures are on view in the main gallery: each has arrangements of five clay forms perched on top\, all of which represent an immediate “fa mily” member. In turn\, each discrete sculpture represents a particular dev elopmental stage in Finsel’s life: the mahogany piece as his pre-pubescence \, the black piece as his adolescence\, and the white one as his adulthood. For instance\, the black table’s tray full of black ink\, whose opaqueness reminds of Rorschach blots and the mucky dramas of the teenage years contr asts with the white and relatively serene representation of his adulthood. The symbology of these works are not limited to their colors as well: the l egs of each sculpture conjure particularities of each developmental stage b y virtue of their shapes. The mahogany sculpture’s raw and square wood legs connote the unformed or unfinished state of pre-pubescence\, for example. And each developmental unit could also be read in reverse. The mohagany scu lpture could be seen as the last stage in a circular\, never-ending progres sion…
The clay forms on the sculptures then recur in the f our large-format photographs\, also in the main gallery\, in which Finsel’s body becomes a replacement for one form or another\, inhabiting the variou s roles of the family relationship. The pattern seen upon entering the exhi bition was hand-painted on his body in each image\, infiltrating the book o n to his body and its performance. These patterns then morph into the manda la paintings\, whose similar-keyed colors place each of the 5 filial forms in different configurations. While similar to the aesthetics of 1970’s ‘sel f-awareness’ techniques and Eastern art practices\, they are for Finsel sys tematic and methodical. This search can also be located in the somewhat dia grammatic and holistic approach of Finsel’s “Self-box”\, which features ima ges of gem stones—taken from a calendar made the year of his parent’s marri age—and an image of presumably Finsel himself.  However\, verifying this be comes difficult due to his face being hollowed out with an image of ancient mummies. No matter\, the face is actually a representation of his archetyp al ‘shadow self’ taken from a teen magazine.

This piece\, along with the smaller prints that line the walls of the Martel space\, mark their function as delicate codas to Fi nsel’s dense\, multi-valent practice. Their immediate significations\, at t he end\, remain fugitive. Notably\, pig latin has been used in place of Eng lish titles for all of the works in this exhibition. While essentially a la nguage game of alterations\, meant to conceal meanings to those unfamiliar with its rules\, an assumption lies in the speaker that his or her lingual disguise is easily understood. .However\, this first decoding\, like the ma ny that follow\, is perpetually the first step.
Dan Finsel was recently included in “Made in L.A.” at the Hammer Museum\, Los Angeles in 2012\, and recently held a solo presentation at Artist Films Internatio nal at Ballroom Marfa\, Texas\, and at Whitechapel Gallery London\, in 2012 . Finsel also held a solo exhibition at Parker Jones Gallery\, Los Angeles in 2010. He also has participated in group exhibitions at Francois Ghebaly Gallery\, Los Angeles and Clifton Benevento\, New York in 2011\, and most r ecently\, had work screened at the ICA\, London in 2013. Finsel lives and w orks in Los Angeles.

LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SUMMARY:“E-THAY INWARD-YAY OURNEY-JAY”\, Dan Finsel END:VEVENT BEGIN:VEVENT DTSTAMP:20161205T053009Z UID:262537 DTSTART:20130316T170000 DTEND:20130316T190000 LOCATION:Richard Telles Fine Art\,7380 Beverly Boulevard \nLos Angeles\, CA 90036 SUMMARY:“E-THAY INWARD-YAY OURNEY-JAY”\, Dan Finsel END:VEVENT END:VCALENDAR