Los Angeles

View of “Kevin McNamee-Tweed,” 2019.

View of “Kevin McNamee-Tweed,” 2019.

Kevin McNamee-Tweed

Steve Turner

For his solo debut in Los Angeles, the Iowa City–based artist Kevin McNamee-Tweed clustered dozens of objects—many small enough to hold in your palm, and all solicitous of visual if not tactile intimacy—into wall-mounted vignettes. Shelflike relief sculptures made of found wood braced diminutive glazed ceramics. Alongside these altar-like installations were carefully considered arrangements of his earthenware paintings (flat panels the size of a book or a tablet), acrylics on muslin with bilateral symmetry (hence their designation as the “Butterfly Series,” 2019–), drawings, and ephemera. Despite the small scale of each item, the gallery was full; the overwhelming sense of proliferation and industry was amply reinforced by the checklist, a thick, stapled stack of many, many pieces of paper, which still did not form an exhaustive inventory. Somehow, this profusion of images nevertheless

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