Los Angeles

Chris Finley


Known primarily for interactive sculptures produced from drugstore items like Rubbermaid containers filled with detritus—pieces of toys, whittled-down pencil stubs—Chris Finley presented in last year’s exhibit “Level One” paintings that made some unusual demands on viewers. Some had to be walked through, examined from specific vantage points to catch perspectival tricks, or, in the case of Boing Splat, 1997, glimpsed while jumping on a trampoline. Though the method of presentation has changed in “Level Two” (part of a series loosely based on the structure of video games, with viewers advancing through levels of “skill” in the works), the artist’s strategy remains much the same: clever, neat packaging is used to contain a variety of disorderly, gross, or scary things.

The four large paintings on view—Drool; Sweat; Scream; and Drool, Sweat, Scream (all works 1998)—depict grotesque subjects

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