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View of “Atmospheric Abstraction,” 2015–16. From left: Mara De Luca, RAMONA 1 (SV), 2015; Heather Gwen Martin, Cave Song, 2015; Larry Bell, 3D VD 1.30.15D, 2015; Gisela Colón, Mega Rectanglopoid Glo-Pod (Iridescent Red), 2014. Photo: Philipp Scholz Rittermann.

“Atmospheric Abstraction”

Quint Gallery

View of “Atmospheric Abstraction,” 2015–16. From left: Mara De Luca, RAMONA 1 (SV), 2015; Heather Gwen Martin, Cave Song, 2015; Larry Bell, 3D VD 1.30.15D, 2015; Gisela Colón, Mega Rectanglopoid Glo-Pod (Iridescent Red), 2014. Photo: Philipp Scholz Rittermann.

The title of this group show, “Atmospheric Abstraction,” neatly suggested the historical lineage of a collection of contemporary nonfigurative work by Los Angeles–based artists heavily indebted to their Southern California Light and Space predecessors. Anchored by recent kinetic three-dimensional works by the Light and Space sculptor Larry Bell, paintings and sculptures by younger practitioners Gisela Colón, Mara De Luca, and Heather Gwen Martin demonstrated a willful extension of the movement’s phenomenological imperatives. Colón’s “Glo-Pods,” 2013–, irregularly shaped wall-mounted acrylic orbs, recall the languid organicism of Craig Kauffman’s candy-colored bubbles; their intimation of light emanating from within the impossibly smooth contours additionally channels Helen Pashgian’s illuminated monoliths. Unlike Pashgian’s plinths, or Doug Wheeler’s neon-backlit canvases, Colón’s

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