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Claude Collins-Stracensky

August 1, 2009 - October 25, 2009

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ABOUT THE EXHIBITION

LA-based Claude Collins-Stracensky takes as his subject the fundamental aspects of the natural world—light, energy, and time—in a practice that embraces a range of mediums. The exhibition will present a group of new sculptures and two new large photographic lightbox wall reliefs, alongside a selection of photographs taken since 2001. From the face of a boulder rendered a glowing silver by the sun to a dramatically collapsed pavilion near the Santa Monica airport after a wind storm, Collins-Stracensky’s images capture moments that heighten our awareness of the constant interactions and changes occurring in our environment between systems, materials, and forms. Our desire to contain nature and our mediated experience of the natural world is explored in several recently completed sculptures, which consist of 2-way mirror tinted and perforated glass and colored Plexiglas vitrines containing objects such as painted palm fronds and sea shells placed atop precisely rendered steel bases. The filtering of visual information and the need to view the sculptures from multiple vantage points will be mirrored by Collins-Stracensky’s interventions into the space for which he will make perforations in the walls and install colored film onto the windows.

ESSAY

The Swarming Sensation
By Anne Ellegood

 

If you ask Claude Collins-Stracensky about his artistic practice, he may recount a sketch that he saw on Dave Chappelle’s show in which the comedian tells the same story from two different perspectives. The story is not told from the perspectives of two different people, however, as one might expect; rather, each version is from Chappelle’s own perspective, and yet each is wholly different from the other. They are so distinct, in fact, that the experience itself—albeit ostensibly the same event happening at the same time to the same person—is completely altered. And the fundamental element responsible for this shift in perception is time. Chappelle describes walking into a Laundromat, once in slow motion and once in real time. In the slow-motion version the sequence of events is everything he wants it to be: A beautiful woman enters with requisite wind blowing through her hair and begins to sort her lingerie. She beckons Chappelle over, and they dance erotically. Conversely, nothing remarkable happens in the real-time version. Fluorescent lighting sets the tone, and banality persists. Being at the Laundromat is just what it is often understood to be: a chore. Chappelle is making fun of himself and the technological tricks that we use to enhance our experiences, but the question remains: is his slow-mo version only a fantasy? Or could both experiences of time, and the divergent perception of events that accompany them, be happening concurrently? More

 

Hammer Projects is made possible with major gifts from Susan Bay-Nimoy and Leonard Nimoy and The Horace W. Goldsmith Foundation.
 
Additional generous support is provided by the Los Angeles County Arts Commission, Good Works Foundation and Laura Donnelley, L A Art House Foundation, the City of Los Angeles, Department of Cultural Affairs, the David Teiger Curatorial Travel Fund, and Fox Entertainment Group’s Arts Development Fee.

 

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