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Curated by: Cynthia Penna

650 A South Avenue 21
Los Angeles, CA 90031
September 2nd, 2012 - September 14th, 2012
Opening: September 9th, 2012 1:00 PM - 3:00 PM

downtown/east la
Thu-Sun 12-4; by appointment on Wednesday
mixed-media, performance, conceptual, landscape, surrealism, modern, sculpture


In cooperation with the Italian Cultural Institute (IIC) of Los Angeles, LA Artcore brings the surprising work of Italian artist duo TTOZOI, who grow organic material on canvas surfaces to produce complex, interesting surfaces.

The artists employ natural pigmentation and the living behaviors of organic material to essentially grow his abstract works of art.  The forms, colors and patterns that appear on the canvas surface are composed of a variety of molds, bacteria and fungi.  They carefully seal the paintings, so they are perfectly healthy to encounter, presenting us with an extraordinary view of the collision of biological cultivation with art.  Though the artists do not make much in their statements of the connection, their work is firmly rooted in a contemporary popularity in the intersection between science and art, and their work will be of interest to anyone who follows that arena.

The artists draw from their work a great deal of philosophic reflection, using the tension of discourse created between direct involvement and self-engendered, natural process to ask questions about artistic perception.  Presenting work that is so empty of narrative, being drawn into an interest for it becomes an illustration of the way viewing art activates our imagination.

They consider the canvas to be a sort of cradle, from which they raise ‘the inaudible sound of natural struggle’, making it discernable by capturing the visible after-effects of life.  Rather than initiating an event, they guide its own inherent initiative, allowing the natural spontaneity they identify as ‘automatism freed of all descriptive intent.’

The artists can be regarded as a purist in the arena of abstract expression – but are neither transcendental nor contemplative; in the work they accomplish a total departure from rational involvement.  They have in a sense displayed a transmission, in the language of creative human expression, by using the voice of nature as transmitter.  From the completion of nature’s spoken cycle (the death of the molds and other materials), to their subsequent sealing and framing, chance is transformed into choice.  The completed work is the beginning of its effectiveness, and they are able to offer to observers a starting point for their own engagement.  The circumstance of the work also raises questions and discussion regarding the nature of art objects, and the frameworks in which they are presented.  Because the work’s likeness is so richly varied, yet notably distanced from the direct manipulation of human hands with traditional media, the viewer is drawn to ask questions about its origin and purpose.  In this way, the artists produce a purely informal mode of abstraction that comes into being in an intriguing, conceptually engaging form.

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