Los Angeles

Roger Hiorns

Marc Foxx Gallery

Often perplexing, and pointed in the titling of his works, Roger Hiorns has made various pieces in strikingly different media—from one deploying dark steel plates sprayed, at crotch level, with the tony scent of Jean Patou’s Joy to another with fire tongueing through a metal grating—all dubbed Vauxhall, 2003. As writer Siobhan McDevitt points out in the brochure accompanying Hiorns’s UCLA Hammer Projects show, “If the word Vauxhall can mean, among other things, a London tube stop, the seventeenth-century pleasure garden for which the tube stop is named, a car company, a Morrissey record . . . why can’t Vauxhall (now the title) mean discrete works of art?”

The works Hiorns showed here are all untitled, and all but one are from 2007. On the floor near a back corner of the gallery, a scattering of contact lenses, gray, blue, blue-gray, lilac, and jade, looking like fish scales or sequins,

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