Los Angeles


Dilexi Gallery

The five artists represented hold in common a certain esthetic materialism. This manifests itself in different ways for each, ranging from Joseph Goode’s realism of things to Fred Martin’s paper collages which are so physical they even have messages written upon them. Goode’s drawings of sun glasses and keys and drawings of un glasses and keys and machinery have the tech illustrator’s matter-of-fact non-style. His real milk bottles are painted over thickly, and then set up the way you might meet them some A.M. on your doorstep; the colored coke bottles come in six-packs. (Could this be a new protest against color photography?) Tony Delap really struggles with the elements in his collages; his monotonous over-pasting and re-painting of scraps and gadgets conveys sensations similar to those one might feel fighting one’s way out of a paper bag. In contrast, Martin’s collages have a lazy whimsey about them with their dog-eared shapes, awkward spaces and comments scrawled the same way kids write notes to pass behind teacher’s back. Jeremy Anderson’s wood sculpture has a homespun feeling. Most of the shapes are related to butterchurners, spindles and abaci, but somehow there is more than an overtone of Freud (or Sade) and we quickly leave the farmhouse for the hayloft—or the woodshed. Llyn Foulkes alone of the group seems to care about the beauty of his materials. His black and white collages are extraordinarily handsome and in his smaller works the objects have such a treasured quality they appear to be relics.

Rosalind G. Wholden

#image 2#