dayoutlast is a record of my direct engagement with mostly contemporary art, mostly Los Angelean.

As this blog has evolved since its 2010 inception, so has my perspective. What I once perceived as central within the investigation was what was central, literally, within the photographic frame that I shared here. While still an important consideration, such thinking has also given way to more peripheral considerations, ones also accompanied occasionally by text (written manifestation of thought) and the oscillations between them. What's missing here are larger unknowns surrounding issues of presentation and representation; the amount of time and space it actually takes to accomplish such first-hand observations; and the quandaries between documentation and interpretation.

Despite my attempt to communicate here with image and text what is essential in some respect about the artwork, neither representation should ever be considered a substitution for the primary viewing experience. Of course, occasionally there are exceptions.

Most of the time, these posts are merely remnants---residual fragments---from my last day out.

Sunday, June 10, 2018

Patrick Jackson "DUM MUD" @ 600 Robinson St #4 | Ghebaly

View upon entering (living room toward bathroom and bedroom).


Approaching the bedroom.

The closet.

These two side by side images were on the kitchen refrigerator and seemed significant. While they didn't seem technically/formally part of the show, they were there and somehow inflected my experience, as if they were the DNA for the whole show.

Negotiating photographic light and dark between these two which also seems to, at the very least, cohere with symbolic differences/dualites within the show itself.

To see dayoutlast posts from related works, House of Double and The Third Floor, see the following links:

The following is the press release given by Ghebaly Gallery:

Ghebaly Gallery presents DUM MUD, an exhibition of new sculptures by artist Patrick Jackson installed in his one-bedroom apartment.

With dark wood paneling and red carpeting (details original to the space), Jackson’s apartment looks like a film set of a 1970’s home. He has covered the windows with frosted orange vellum, creating a daylong Technicolor sunset. Two new bodies of work are installed in Jackson’s apartment: plaster wall reliefs and ceramic shoes.

The reliefs were originally sculpted in a shallow 20 x 15 inch wooden box using a soft clay. Jackson created molds and produced the final casts in white plaster, which are installed on the walls of his kitchen, living room and bedroom. The reliefs are part of an ongoing series, first started in 2016. The imagery from Jackson’s past wall reliefs was sourced from his sketchbooks, but these new reliefs were improvised with no reference material; Jackson sculpted whatever came to mind. His imagery includes bodies, bricks, folds, coverings and openings.

The ceramic works are made with shoes in mind, but each varies in its resemblance to a shoe. Some look like hooves, others volcano science projects and all are cartoonish and oversized. These pieces start with ceramic and glaze, but all manner of craft store shlock is also applied: spray paint, epoxy, seashells, rocks, fabric, pencils, plastic plants, etc. They are presented in a mirrored display, built into Jackson’s bedroom closet.

Jackson’s living space has often figured into his work. In 2012, he installed House of Double in a vacant two-bedroom apartment in his housing complex. That show was constructed around two nearly identical copies of Jackson, each lying in a separate bedroom. In 2014, Jackson presented The Third Floor at Ghebaly Gallery’s former Culver City space. Presenting an outline of a basement, living room and attic, this was home as tiered psychological space.

With DUM MUD, Jackson focuses on recurring dreams that take place at home. For years, “home” in his dreams was either his childhood or grandparent’s house, but now his apartment has become one of the three possibilities. Perhaps it’s the time he has spent in these places, or maybe it’s their shared 1970’s aesthetic. Whatever it is that connects these homes, the same phenomena happen within: hidden rooms are discovered, excavations lead to caves burrowing below, dead family members live in childlike and disabled states.

DUM MUD is the ectoplasm of dreams, the material that makes up the show.

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