Main gallery: Ben Weiner "MaximumStrengthAgeDefy"; Project Room: Shaun Gladwell

Main gallery: Ben Weiner "MaximumStrengthAgeDefy"; Project Room: Shaun Gladwell

her fantasy by ben weiner

Ben Weiner

Her Fantasy, 2014

Price on Request

(w)hole by ben weiner

Ben Weiner

(W)hole, 2014

Price on Request

bmx channel by shaun gladwell

Shaun Gladwell

BMX Channel, 2013

Price on Request

like frozen food my love will last forever by ben weiner

Ben Weiner

Like Frozen Food My Love Will Last Forever, 2013

Price on Request

excesstraction by ben weiner

Ben Weiner

Excesstraction, 2013

Price on Request

body party by ben weiner

Ben Weiner

Body Party, 2014

Price on Request

Saturday, February 22, 2014Saturday, March 29, 2014

Mark Moore Gallery
Culver City, CA USA

Mark Moore Gallery is proud to present "MaximumStrengthAgeDefy," an exhibition of paintings and mixed media drawings by interdisciplinary artist, Ben Weiner. Marking the artist's third solo exhibition with the gallery, this body of work demonstrates Weiner's adept ability to synthesize abstraction with illusionism. Paired with his conceptual interest in consumerism and mortality, Weiner's technique yields arresting compositions rife with provocative intrigue. Concurrently in the Project Room, Mark Moore Gallery proudly presents "BMX Channel" (2013), a large-scale video projection by Australian artist, Shaun Gladwell. Set within a picturesque British seaside, this single-channel work demonstrates the artist’s signature uses of filmic devices such as slow motion and long pans to capture both a tightly choreographed and improvised performance. Described by the artist as “performance landscapes” Gladwell’s videos present a juxtaposition of culturally specific athleticism against a visually discursive environment.

In his exhibition, Weiner anchors his focus on materiality with bodily references, tension, and relationships. At once interpretive and literal, cropped images of artificial consumer products – such as body wash, hair gel, moisturizer, makeup, nail polish, energy drinks, and recreational drugs – mutate from their microscopic origins to macroscopic terrains and suggestive forms. In decontextualizing these ubiquitous materials, Weiner suggests the abstract, constructed, and subjective nature of beauty – as well as its most elemental components. Weiner obfuscates the differences between beauty products, paint, and comestibles, and in turn, highlights the increasingly fluid connectivity between seemingly divergent mass-manufactured methods and goods. In a Duchampian manner, Weiner intimates the readymade qualities of perceived fabrication; be it an arresting work of art or youthful visage. His painted matter swirls, drips, and fuses into psychedelic anatomies and topographies on a monumental scale, as if memorializing the uniquely human urge to prolong our physicality, mortality, and image. Weiner further exemplifies this social compulsion through his own meticulous handicraft, as he strives to create a near-mechanically perfect image. By addressing the threat of technology to the human touch, Weiner pairs the anxiety and celebration of the post-industrial era to create works that are similarly binary.

Weiner (b. 1980, Burlington, VT) received his BA from Wesleyan University (CT). He also studied under Mexican muralist José Lazcarro at Universidad de las Americas (Mexico) and has worked closely with artists Jeff Koons, Kim Sooja and Amy Yoes as an assistant. He has exhibited his work widely across the United States and in Mexico with solo shows in Los Angeles, New York and Puebla, and group exhibitions in Chicago, New York, Miami, New Haven, Ridgefield, Los Angeles and Riverside. His paintings can be found in the Sammlung/Collection (Germany), the Progressive Collection (OH), The Microsoft Collection (WA), and the Frederick R. Weisman Foundation Collection (CA). The artist lives and works in New York City.

In the Project Room, Mark Moore Gallery proudly presents "BMX Channel" (2013), a largescale video projection by Australian artist Shaun Gladwell. Set within a picturesque British seaside, this single-channel work demonstrates the artist’s signature uses of filmic devices such as slow motion and long pans to capture both a tightly choreographed and improvised performance. Described by the artist as “performance landscapes” Gladwell’s videos present a juxtaposition of culturally specific athleticism against a visually discursive environment.

In "BMX Channel," Welsh bicyclist Matti Hemmings performs a technical style of BMX riding known as "flatland" – which is defined by stylized break-dance-like movement on flat surfaces. The physical virtuosity of the rider recalls the street performers of the beaches of Southern California, where freestyle BMX was born. However, the swaying Union Jack and Edwardian colonnade that frame the scene defines the land we see in the video as the South East Coast of the U.K., where flatland BMX has thrived. Hemmings’ intricate and balletic maneuvers are dwarfed by the ethereal haze of the surrounding English Channel. An ambient electronic soundtrack by Kazumichi Grime intensifies the cinematic scene, which fluctuates from an atmospheric panorama to a formal study of athletic prowess. Adding to the video's mystic qualities is the vanishing horizon line, the consuming mist, and the gracefulness of Hemmings' BMX riding. The resulting work is surprisingly hypnotic and beautifully poetic, due to its distortion of speed and overall displacement of space and time. Within this formal context, the video is an extension of Gladwell’s interest in the genre of landscape and notions of the contemporary sublime.

Shaun Gladwell (b.1972, Australia) is based in Sydney and London. He completed Associate Research at Goldsmiths College, London in 2001 and has since undertaken numerous international residencies and commissions. He has exhibited prodigiously in Europe, North and South America, and in the Asia Pacific Region. Shaun Gladwell represented Australia at the 53rd Venice Biennale and traveled to Afghanistan as the official Australian War Artist in 2009. His work is held in significant public and private collections nationally and internationally, including: Wadsworth Atheneum, CT; Museum of Contemporary Art, Tokyo; the Progressive Art Collection, USA; National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; and the Museum of Contemporary Art, Sydney.

For more information about the exhibition artists, or available work, please feel free to contact the gallery, and we will accommodate your needs.