Los Angeles

Christopher Georgesco

Newspace Gallery

Origami comes to mind amidst Christopher Georgesco’s new work, most of it smallish maquettes for large steel sculptures. In fact, origami could serve as a metaphor for the undeniably logical, surprisingly poetic way his forms have grown from one another in his work of the past five years. Georgesco’s earliest pieces, narrow, cast concrete totems about 10 feet high, were elegantly shaped so that each side read in planar counterpart to the other three. These obelisklike pieces subsequently developed into a series of concrete and steel tripods. A single profile of one of the earlier horizontal works was isolated and leaned against two other such distillations. The tripods, while awkward by comparison with the upright composure of the totem/obelisks, proved significant because in them Georgesco introduced a larger, more environmental scale—one could walk through them rather than around only—and

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