Jason Bailer Losh at Anat Egbi, Los Angeles

“Plow Louise”
February 27 – April 4, 2015

 

Excellent works by LA-based sculptor Jason Bailer Losh. The proportion with the pedestal, the colors, the size of the elements with each other: each piece is a perfection.  No one could even imagine to recycle those items like Losh did. Yes, may be just one, great one George Herms.

Even the text(s) of presentation of the exhibition is/are good (read below) BCh

Upon the pedestals rest pot metal, a croquet ball, a bowl, copper tubing, a gourd and some shrink-wrap. The wall works are made of Ultracal and ringed with rubber hose, a jump rope and plastic. The pedestals are built of pine, birch, maple; some finished with altered wallpaper patterns, shellac and acrylic paint.

“Jason, you might consider combining the sections of the thin floor lamps to make one of two endless columns.”

The objects upon each pedestal are found in thrift and second-hand stores. The motley collection is bought by the artist’s father-in-law and boxed and sent to Losh. He uses these items and constructs them into particular compositions, sequences and arrangements.

“You should consider that sculpture is elusive. It presents too many faces at once.”

The surface of each component is carved with a distinct history. Cracks, dents and paint abrasions that have accrued over decades distinguish their weathered surfaces. The wall sculptures are laced with ropes and etched with lines that record the artist’s hand.

“Consider that presentness is grace.”

The pedestals are either laid bare or laid with William Morris wallpaper patterns. They are essential objects that contain the elegant, gestural movement of each piece through consummating their raw presence.

“Jason, simplicity is complexity resolved.”

Jason Bailer Losh’s works are composed of everyday materials repurposed into wholly new objects. They feel visible and familiar, yet relate outside of their tactility and functionality. Through the artist’s hand, common, commercial and domestic objects are exposed of their sculptural, formal and physical dimensions.

“Well, good for plow Louise.”