Inner Interiors
recent works by Luke Forsyth

During the Summer of 2016, Luke Forsyth used the location of a project space in the Lincoln Heights neighborhood of Los Angeles as an extension of his studio and created a new and larger body of work—both in scale and number. Inner Interiors is an exhibition of those recent works and opens to the public on September 16, 2016 from 7-10 pm.

This new body of work revolves around a surrealist depiction of a world familiar yet distant; a world obscured through the use of color, shifts in perspective, and the abstraction and flattening of figural and object based representations. Forsyth’s use of perspective falsifies the work in such a way that it becomes cartoon-like, imaginary—imagined, even. His figures are often faceless, amorphous, distanced from any immediate identifying markers but based on real people, real bodies, real life. The settings of the works are familiar, but hazy. The objects are both historically significant and everyday throw-aways with no inherent importance. Through Forsyth’s creations however, the objects all gain a certain level of significance. A Greco-Roman style pot emblazoned with a BMW insignia sits adjacent to various half drunken and half empty bottles of Gatorade. In turn, these objects become relics. They lose a sense of their own inherent qualities and become works worth creating, works worth pondering—an amalgamation of the canonized and the kitsch. 

Forsyth's paintings act as memories—mashed together in some parts, unwoven and wholly separate in others. These created worlds begin to reference themselves and each other within each work. In The Grand Hall, the viewer is confronted with a painting of a large plant at the center of a hallway adorned with various different artworks; those pieces themselves exist outside of that specific painting as singular works hung throughout the gallery. In Fantasy Reader, there is a woman straddling a brick wall and reading a book. The scene behind her features two figures holding hands and a landscape that appears to be out of place. There is a section of the sky painted in the lower right hand corner of the canvas that distances the work from reality even further. The works blur the line between what is seen and what is observed. A painting can be a painting of a painting hung next to that very same painting while also referencing a cityscape or a mountain scene, or even pottery that has yet to be created--yet to be included in a larger scene, or on it's own.

Forsyth's work is honest—in the likes of a child recounting a story—but fabled—in the sense that their reality is skewed and ungrounded; referencing things unnoticed and unrecognized. As loose as the works appear, there exists a deep level of control in Forsyth's skill and craftsmanship in creating these dreamscapes. He is creating a world unto itself; a fabled land of modern folklore intertwined with the quotidian; a synesthetic snapshot of a moment distanced from reality. This dichotomy is ever present in Forsyth's larger body of work. His colors are fantastical and dreamlike, there is a haziness and muted quality to everything that feels like California, but melted and shapeshifting like it has been lost in mercurial matter—lost in the mind, in a daydream that has been forgotten, sun-soaked, but seeping its way into one's later consciousness. 

Inner Interiors is organized by Pejman Shojaei.

 

 
 

 
 

2601 Pasadena Avenue, Los Angeles, CA
September 16 - 18, 2016