Like California fruit:
splendid to look at, but without flavor
“I’ve never seen such enormous lobsters. Absolute whales: prehistoric creatures. I ordered one, but it was tasteless as chalk, as so tough to chew that I lost a filling. Like California fruit: splendid to look at, but without flavor.”
-Truman Capote, Music for Chameleons
Like California fruit: splendid to look at, but without flavor is a two person exhibition of the works of Krista Buecking and Mary Hill organized by Jason Black and Pejman Shojaei.
Referencing a quote from Truman Capote’s short story, Music for Chameleons, the works in this exhibition all display a disjointed relationship between the surface of the work and the context of the medium. The objects on display are not necessarily what they appear to be. The works all express moments of pause and interruption not only in their formal qualities, but also in their facade, display, and conceptual undertaking. The relationship between surface, material, and facade all come together to disprove but also confound the medium of each artwork.
Krista Buecking’s series, MATTERS OF FACT includes a set of colored pencil drawings of color gra- dients with graphic forms painted on the inside glass of the frame. The abstract forms of the graphics are taken from corporate graphs but are stripped of any referent. The tint within the drawings alter, the colors intensify and fade again; the change appears seamless and almost com- puter generated. A blank-faced clock and an audio soundtrack also accompany the drawings, varying between announcing the time, bouts of silence, informational lead-ins, and the 60’s sentimental pop hit This Magic Moment by the Drifters. The drawings and graphic forms in the installation offer the appearance of substance but are emptied of meaning. Similar to the profiteering of financial capitalism, the truth of their matter is no where to be found
In Mary Hill's work, the use of silicone, glazed porcelain, and glass each allude to Los Angeles, referencing the viewed body, the windshield, and ultimately, the screen. As in Capote's story, Hill's casts are all surface—the skin of the fruit without the flesh. These sculptures combine the terms of skin, window, and screen. The lineages of painting flicker past as billboards re- flected on a windshield: what we perceive as an infinite landscape is a box, what appears to be a painting is a sculpture, and what appears to be a sculpture may in fact be a horizon line fixed within a frame. The silicone is simply where the rubber meets the road—a reference to perpetual progress and artificiality—both bodily and technologically. The fruit has been hollowed out, but not eaten; the juice must be carried in the right hand as a prop.
Visual Artists Group, Los Angeles, CA
March 19 - April 9, 2016