Eyes of March

Eyes of March

Cirrus 2018

Eyes of March

March 24th July 27th, 2018 Cirrus Gallery 2011 S. Santa Fe Ave. Los Angeles, CA 90021

Cirrus 2018

Eyes of March Introduction

Installation View

Cirrus is honored to present Eyes of March, an exhibition focusing on a group of six emerging Los Angeles artists whose personal and creative relationships to one-another inform conceptual overlaps in their work and practices. Organized by Math Bass, Eyes of March includes printed and original works by Bass, Lauren Davis Fisher, Ben Hall, Kate Hall, Celia Hollander (a.k.a. $3.33), and Peter Linden. The exhibition comprises of works that are materially diverse, reflecting their multidisciplinary makers.

The exhibition marks the premiere display of Math Bass’ newest suite of prints, in Los Angeles at Cirrus where they were printed and published.

Titled Newz!, the series of three are an extension of an ongoing series of paintings of the same title. A language of bright solid colors, basic geometric shapes, and recognizable symbols are reconfigured and repeated to amplify the tension between stasis.

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Math Bass Newz!

2017 3

Math Bass Newz!

2017 4

Math Bass Newz!

2017 5

Lauren Davis Fisher Rope 2016 8

Lauren Davis Fisher Mound 2016 9

Installation View

Using a simplified visual language and modes of operation, Lauren Davis Fisher’s performances, installations, sculptures, and drawings often incorporate raw materials, identifiable symbols, and architectural forms to explore conditions of space and bodily orientation. Her latest series of drawings in the exhibition reference props she builds for her performances and installations.

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Lauren Davis Fisher Vent 2016

Lauren Davis Fisher Cut-Off 2016 11

Lauren Davis Fisher Tunnel 2016 12

Lauren Davis Fisher Fragment 2016 13

Lauren Davis Fisher Barrier 2016 14

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BF Hall Crevice 11 2017

BF Hall Crevice 6 2016 16

Installation View

BF Hall’s sculptures in the show are selections from his ongoing series of stone sculptures, titled Crevice, in which Hall attempts to capture the toooften overlooked people and moments found in the fringes of Los Angeles.

Each work in Crevice is carved by hand- without the aid of power tools (marble or alabaster).

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BF Hall Crevice 13 2017 18

BF Hall Crevice 12 2017 19

In 2004 Kate Hall was randomly shot in the head in a parking lot in Los Angeles during a fight that broke out, an injury that left half of her face partially paralyzed to this day. This experience informed much of her earlier work, where she investigated faciality and the face as a portrait of a psychological framework. Her recent compositions are concerned with language and its slippages, specifically relating to self-representation, the face, identity construction and by extension, silk screening as a form of painting.

Kate Hall The Difference Between Two Dogs, Smelling Smoke, Talking Like Two Dogs 2017 22

Kate Hall Billie in the Bushes 2016 23

Kate Hall Untitled (Cherry House) 2017 24

Kate Hall Playing Fair 2017 25

Kate Hall Untitled (Front and Back/Rise and Set) 2017 26

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Celia Hollander/ aka $3.33’s sound installation, titled Duet, consists of two painted subwoofer speakers hanging from a microphone stand playing an original electroacoustic audio piece on a loop. As stated by the artist, the piece implies a balance by reversing the roles of speakers and a microphone to perform their opposite functions: “although microphones are designed to receive, and speakers are designed to emit, they both convert between acoustic and electronic signals and can easily be rewired so that a microphone broadcasts and a speaker receives. Together, the piece intends to propose a balance, or a duet, between these types of illusory dualities.�

Celia Hollander Duet 2018 28

Peter Linden Puller 2018

Peter Linden GOD 2018 30

Peter Linden examines machines as sculptural objects by subtly modifying them. Similarly, Linden’s works are bound up with confinement and conveyance, intervening spaces to explore tensions between manual and intellectual labor and its use. The two conveyor sculptures on view (the one on stand called Conveyance: Giver and the one lacking a belt called Conveyance: Liver) have been subtly covered in blank white copy paper. By covering the conveyors with the material they were used and built to transport the ink stains of these machines use and lifespan are concealed.

A painted gray box, titled Portmanteau, is described by Linden as a “sound box” and emits a low vibration-sound. A portmanteau is word-blending: combining two words’ sounds and meanings, to create a fresh term that retains the meaning from both. Similar to the buzz of a phone notification, the piece’s sound represents a message. The box both produces and digests messages: receiving a message in and responding out. The combination of its two actions - like two words combined - create an understanding that is a sound of a correspondence.

Peter Linden Portmanteau 2018 31

Peter Linden Conveyance (Giver) 2018 32

Peter Linden Conveyance (Liver) 2018 33

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Eyes of March Index

Math Bass Newz!, 2017 Archival inkjet print 36 1/8” x 33 1/8” Edition of 40 710c-MPB17 Pg. 03

Lauren Davis Fisher Cut-Off, 2016 Graphite and colored pencil on paper 9 1/4” x 34” 003-18-LDF Pg. 11

Math Bass Newz!, 2017 Archival inkjet print 36 1/8” x 33 1/8” Edition of 40 711c-MPB17 Pg. 04

Lauren Davis Fisher Tunnel, 2016 Graphite and colored pencil on paper 20 3/4” x 26 1/4” 004-18-LDF Pg. 12

Math Bass Newz!, 2017 Archival inkjet print 36 1/8” x 33 1/8” Edition of 40 712c-MPB17 Pg. 05

Lauren Davis Fisher Fragment, 2016 Graphite and colored pencil on paper 19” x 24 1/4” 006-18-LDF Pg. 13

Lauren Davis Fisher Rope, 2016 Graphite and colored pencil on paper 40” x 5 3/4” 002-18-LDF Pg. 08

Lauren Davis Fisher Barrier, 2016 Graphite and colored pencil on paper 37 3/4” x 26 1/4” 007-18-LDF Pg. 14

Lauren Davis Fisher Mound, 2016 Graphite and colored pencil on paper 22 1/4” x 30” 005-18-LDF Pg. 09

BF Hall Crevice 11, 2017 Hand-carved alabaster 7” x 10” x 7” 004-18-BH Pg. 16

Lauren Davis Fisher Vent, 2016 Graphite and colored pencil on paper 22” x 20” 008-18-LDF Pg. 11

BF Hall Crevice 06, 2016 Hand-carved alabaster 8” x 7” x 16” 004-18-BH Pg. 16

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BF Hall Crevice 13, 2017 Hand-carved alabaster 9” x 8” x 17” 002-18-BH Pg. 18

Celia Hollander/$3.33 Duet, 2018 Original electroacoustic audio, painted subwoofer speakers, microphone stand Dimensions variable, 10 minute loop 001-18-CH Pg. 28

BF Hall Crevice 12, 2017 Hand-carvd alabaster 10” x 11” x 9” 001-18-BH Pg. 19

Peter Linden Puller, 2018 Engraving on aluminum plate 12” x 14” 002-18-PL Pg. 30

Kate Hall

Peter Linden GOD, 2018 Graphite on Bounty 2-ply half sheet 7” x 11” 001-18-PL Pg. 30

The Difference Between Smelling Smoke, Talking Like Two Dogs, 2017

Acrylic, charcoal, gouache and flashe on plexiglass 24” x 24” 001-18-KH Pg. 19 Kate Hall Billie in the Bushes, 2016 Acrylic on coated MDF 19” x 13” 002-18-KH Pg. 23

Peter Linden Portmanteau, 2018 Marine bull-horn speaker, extension cord 27” x 15 1/4” x 14”, 6.5 minute loop 005-18-PL Pg. 31

Kate Hall Untitled (Cherry House), 2017 Acrylic, charcoal, gouache and flashe on plexiglass 26” x 24” 004-18-KH Pg. 24

Peter Linden Conveyance (Giver), 2018 Conveyance machine parts, copy paper, extension cord 36” x 10 1/4” x 20 1/2” 003-18-PL Pg. 32

Kate Hall Playing Fair, 2017 Acrylic, charcoal, and flashe on plexiglass 24” x 22” 003-18-KH Pg. 25

Peter Linden Conveyance (Liver), 2018 Conveyance machine parts, copy paper, extension cord 36” x 10 1/4” x 6” 004-18-PL Pg. 33

Kate Hall Untitled (Front and Back/Rise and Set), 2017 Acrylic on plexiglass 36” x 24” 005-18-KH Pg. 26-27 37

Artwork and installation images courtesy Cirrus Gallery & Cirrus Editions Ltd. Cover image: Kate Hall, Untitled (Front and Back/ Rise and Set), 2017 Catalog essay by Saskia Bailey Layout and design by Nico Hernandez For more information visit www.cirrusgallery.com Cirrus Editions Ltd Š 2018

Cirrus 2018

cirrus editions ltd Š 2018