Critics’ Picks

View of “Memory Objects,” 2010.

Los Angeles

Ginger Wolfe-Suarez

ltd los angeles
1119 S. La Brea Avenue
May 21–July 1, 2010

Ginger Wolfe-Suarez’s first solo exhibition in Los Angeles, “Memory Objects,” functions as a Minimalist playground in which discrete objects and subtle images invite connections, interactions, and reflection—not least on remembrance, as the title suggests. Inspired, like many artists and thinkers, by formless in-between states, the Bay Area–based artist’s works are distinguished by their aptitude at carving out and activating space in quiet but definitive ways.

Anchor, 2010, a hulking, matte black structure that recalls Robert Morris’s L Beams of 1965, looms near the entrance of the gallery like a shadowy construction relic offering entry to the lyrical works beyond. Just inside, Here, 2009–10, consists of three parts: A thin, wooden structure, one side covered in dark glitter, reaches up and arcs into the room while a round, lichen-covered rock sits at its base, texturally rhyming with the sparkling wood. Across the room, a mirror that echoes the space framed by the wood is propped in a corner. Throughout, objects seem to indicate the intangible—fleeting reflections and lingering scents—with memorable appearances by mirrors, light boxes, lavender-infused string, and a pile of dried mint leaves.

Sister/Sister, 2010, a photograph in a light box, depicts a woman gazing at a meandering road. Nearby, a pale blue zigzag of wood evokes both road and sky. Wolfe-Suarez’s strength lies in just this sort of visual poem, and in the repeated, silent invitations to interact—to climb over, under, and around porous surfaces and to gaze into light-filled veneers—the cerebral incidental to the sensory.