Dear Hunter

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© Courtesy of the Artist and Perry Rubenstein Gallery
Dear Hunter , 2007 Cabinet, Lath, Thread, Photo Wallpaper Cabinet: 107 X 96 1/2 X 15 3/4 Inches, Wallpaper: 118 X 118 Inches © Courtesy of the Artist and Perry Rubenstein Gallery
mount Parnass , 2011/2013 Lath, Canvas, Lacquer, Thread And Screws 93 X 154 X 33 Inches © Courtesy of the Artist and Perry Rubenstein Gallery
Dear Hunter

1215 North Highland Avenue
Los Angeles , CA 90038
April 18th, 2013 - June 15th, 2013

(323) 464-1097
By appointment only


If ever there was an artist who needs to be seen in Los Angeles, it is Georg Herold, an artist who traverses boundaries and limitations, and the distance between Germany and Los Angeles, due to the visionary nature of his work. His ironic eye and humorous sensibility bring life to rough and crude materials of ordinary, and merely modest value, and transforms them into sculptures of dynamic, living beings, now in the first Los Angeles exhibition of his sculptural figures at Perry Rubenstein Gallery.

“I am happy to be here.”

-Opening of the exhibition of Georg Herold Retrospective (Kärnten)

Transformation is the power of the artist Georg Herold. Taking found and discarded objects, often from the careless remnant heaps of hardware stores, Georg Herold wraps and binds the raw materials once meant to be discarded, and forms them into sculptures that seem to embody not only life but personality, desire and ambition. The ambition of wood to live, to move out of its intended rooted state into a state of movement and levity, Georg Herold’sl figures push the envelope like double jointed acrobats celebrating their new found freedom.

Georg Herold speaks Los Angeles. Body conscious and vain, Herold’s figures stretch and pose as though for a camera or an adoring and lustful eye. Anonymous figures consumed by vanity and unfounded self-confidence, they seem to delight in their own bodies and limbs, unaware of their rough and humble constructions. Herold’s sculptures stretch with languor and affectation, sometimes reaching, sometimes pushing their poses into an absurd flexibility, embodying the unfounded self-confidence of a desirable figure, while humorously unaware of their grotesque size and poses. Herold’s figures show off unabashedly, performing for an imagined audience, while trapped in a perpetual stasis of an impossible fulfillment of desire. Much as they want to, Herold’s figures will never be able to move in the way they themselves seem convinced that they can. This inherent tension ultimately enlivens them even more, into truly living beings, embodying the impossibility our very own desires and physical limitations.