Los Angeles

Aaron Curry

David Kordansky Gallery

Day-Glo, both as color palette and modern invention, tricks the eye into believing that inanimate objects emit inherent electricity. “Two Sheets Thick,” Aaron Curry’s recent show of sculpture, collage, and painting, uses this trick liberally as if to articulate (or scream out loud) the “hotness” of his formal choices. Two of Curry’s six new sculptures (all works 2010), for example, are towering, freestanding constructions of hot pink (Mammut) or fluorescent yellow (Bcklmnmppe) coated aluminum that cause visual vibrations throughout the main gallery. Flat geometric panels bolted together, jigsawlike, to form hooked shapes fastened to arcs, jagged protrusions sprouting from sweeping bows, bulbous planes incised with oculi—these smooth, interlocking forms create monstrous biomorphic abstractions, bringing to mind radioactive Noguchis, high-voltage Picassos. But with Curry’s signed name (the

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