Los Angeles

Ann Preston

Pence Gallery

Ann Preston’s recent work continues her ongoing deconstruction of the so-called transcendental, non-representational artwork into a repetitive series of contingent and rhetorical figurative motifs. In this case, the contingency is based upon a corporeal consciousness instilled by the Creation Myth. By titling her installation of wall- and free-standing sculptures “In His Image,” Preston simultaneously underlines and questions the predominant patriarchal ideology not only of representational encoding itself, but perceptual experience as a whole. Preston’s lowest common (signifying) denominator is the perfected profile, a contrived construction of arcs and circles designed to suggest the beatific aura of historical religious iconography. This acts as both an overt and concealed presence in the disclosure of reified meaning and origins.

In Large Capital Fire, 1988, for example, Preston uses

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