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George Egerton-Warburton, The bus metaphor, 2017, ink-jet print, dirt, oak, paper, glass, 16 x 20 x 2".

George Egerton-Warburton

Artist Curated Projects

George Egerton-Warburton, The bus metaphor, 2017, ink-jet print, dirt, oak, paper, glass, 16 x 20 x 2".

For “The weapon soup boils over, as stocks in metaphors plummet,” George Egerton-Warburton’s first solo show in Los Angeles, the Australian artist showed three kinetic sculptures—Sisyphean motors powering nothing—and a suite of photographs from 2017. He pasted text on each of the images and ensconced the collages in crudely assembled shadow boxes, into which he deposited desiccated California soil. The photos comprise groupings of bucolic sheep, mobs grazing in the landscape of remote Western Australia. Taken in 2013 by Egerton-Warburton’s father on his farm upon the artist’s request, the pictures are expressions of delay and manifestations of implacable distance, even if rather literally framed by more proximate stuff. That the prints are of near-cinematic quality—with high horizons and pastures shrouded in mist—only furthers the sense of uncanny affect.

Yet

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