Oct. 1 -  Oct. 31, 2010
Opening Reception: Friday, Oct. 1, 2010, 8 - 11 PM, print and book signing at 7 - 8 PM

La Luz de Jesus Gallery
4633 Hollywood Blvd.
Los Angeles CA 90027
323-666-7667
wwww.laluzdejesus.com
info@laluzdejesus.com

"Plate I a"
Oil and wax on photographically altered painting
mounted on pane
5.5"x5.5" (10"x10" framed)

“Between the Surfaces” is a continuation from “Origin of Flesh”, Karen Hsiao’s newest body of work. These PLATES are morphological studies of the architecture in organisms and the human body. Her subjects undergo the influence of physical and moral modifications both in respect of to their euphoric and aesthetic qualities. The subjects conform and shape their bodies to a secondary layer of skin, infusing living tissue into inanimate intercellular substances, adapting themselves into rare and valuable specimens. Each plate is created with oil and mixed media on photographically altered paintings, mounted on wood panel.

Karen will also be celebrating the recent release of her first published volume, "Rubber Duck" (Baby Tattoo Books), which she will be signing from 7-8pm. Karen presents simple yet shocking portraits of children, monsters, lovers, fighters, victims, and nurses – represented in some cases by famous fetish models, in the tub with their rubber ducks. Dirty, insightful fun!

Primarily a figurative painter in her early years, Hsiao has since explored the figure and its space through various mediums, creating pieces that are both tactile and intuitive. Photography was a natural extension of that process which Hsiao has sought to perfect. Her work has captured the attention of many, having been shown in galleries, as well as published both nationwide and abroad. She currently lives and works in Los Angeles. www.karenhsiao.com

Matt Wood "Mom's in Jail"

"Aeterna Est Tolerantia"
Acrylic on Mylar
25" x 38"

“Moms in Jail” is a series of paintings with acrylics on mylar and is rooted in artist Matt Wood’s personal experiences as the son of a mother in prison. The exhibition explores society's pursuit of the criminal and the affects of incarceration on a human scale. It is a reflection of the helplessness that wood felt in the destructive chaos that severed and then reunited his relationship with his mom. During the time of his mother's incarceration, Wood empathized with her separation, isolation, and the mourning for time lost. Her circumstances provided a perspective on the society we attempt to maintain and the lengths we will go for the sake of keeping the good separated from the bad. It made Wood question his role in this perceived dichotomy.

“I applied these concepts by incorporating suggestions of narrative and by utilizing methodical compositions on a material that relates to the translucency of society's plethora of layers. The Mylar and acrylic really come together as an actual sort of object - they have a nice weight. Compared to painting on canvas, wood, or paper, Mylar has an abundance of openness, which suggests an airy depth or an atmospheric quality inherent in the material itself. It "breaths" or has breath to me. The approach, process, and execution of my work demonstrates the necessity to explore more than one side of the problems presented to us, no matter how uncomfortable they may be.” states Wood.
 
Matt Wood started small, blonde, and bare-footed on the hot pavement of Arizona. His parents raised him the best they knew how, with a little help from friends, family, TV, and various neighbors from various neighborhoods. After exploring an array of lifestyles on the west coast of America, Wood settled down to earn his BFA at the Art Center College of Design in Pasadena, which is where he works, plays and lives today.

"One Little, Two Little Indians"
Oil on wood panel
9" x 9"

Inspired by a chapter in the book, "Air Guitar" by art critic, Dave Hickey, “Romancing the Looky Loos” is about the struggle between how to stay true to yourself as an artist but also keeping the work marketable, while at the same time flipping the finger to the market and its trends. As an artist, there's a fine line between being sellable and being a sellout. This conflict of interests make a wonderfully uncomfortable paradox ripe for Wu to say, “just let me do what I do best, which is to create things that are romantic and unsettling at the same time, in hopes to charm the looky loos with how I translate my experiences”.

Wu has an almost cubist approach to her paintings, although completely representational, presenting multifaceted subjects. This particular body of work, created with oils and xerox transfers on handmade wood panels, is about childhood trauma, and the loss of innocence. “Through the game of cowboys and Indians, I'm attempting to relate how children get taken advantage of to the cultural history of American Indians and how they were mistreated by the ideals of the American government. The idea of the trauma comes in not only as how kids treat each other on the playground, with bullies and such, but also with more serious issues like molestation, rape and kidnappings and how no one knows how to really deal with those situations regardless of the amount of advice available. I'm using the idea that victims don't know what to do, and the thinking that when push comes the shove, giving in to the push will help avoid the shove, which is rarely the case” states Wu who lives and works in Los Angeles. www.misschristinewu.com