Jochen Lempert and Lin Could Saeed share a deep and abiding curiosity in and dedication to questions and points surrounding the animal kingdom and the pure world. Though they’re longtime buddies and colleagues with a mutual affect, that is the primary time their work might be in direct dialogue in a two-person present. That stated, for all of the similarities of their shared material, they method it in completely other ways. Lempert’s black-and-white analog pictures look at the connection between the human animal and the pure world. Vexing the Cartesian distinction between nature and tradition, Lempert’s work richly explores the myriad interrelated hyperlinks between the 2. Whether or not by way of comparative mimesis, cohabitation or western aesthetics largely codified by the renaissance and modernism, his pictures take into account how nature and tradition are in fixed dialogue, co-evolving, overlapping, and eventually, coexisting. Though political, Lempert’s work is much from utopian. It doesn’t essentially dream of an Edenic return to nature; if something it’s marked by a sober melancholy, arising from our apparent incapacity to maneuver past the anthropocentric gaze.
Lin Could Saeed makes sculptures, sculptural reliefs, drawings, works on paper, and video. The work is instantly linked to and thematically knowledgeable by her curiosity in animals and her dedication to radical animal activism. It offers with the exploitation of animals, their depiction, liberation, and probably harmonious relationships with human beings, and the customarily self-seeking cruelty of the latter. Saeed’s iconographic body of reference is wealthy and different. It consists of Egyptian statuary, Greco-Roman sculpture, and scientific and pure historical past museum shows, amongst different issues. Though she works with quite a lot of supplies, styrofoam performs an important function in her follow. Saeed is drawn to this materials largely for its intrinsic ugliness. Conventional sculptural supplies resembling bronze and marble are, so far as she is worried, too lovely (even when she does use bronze, she casts it from carved styrofoam and paints it white). For her, the uneasy complexity of styrofoam displays the complexity of the subject material she is coping with, whereas presenting a number of actual sculptural challenges—formal points being simply as essential to her as they’re within the pictures of Jochen Lempert.
at Chris Sharp Gallery, Los Angeles
till April 29, 2023