Naylor’s works occupy the front section of the gallery and are mostly labor-intensive constructions involving painted and stitched copper applied on reclaimed wood. He has also installed gridded constructions of reclaimed wood on the windows and in other spaces around the gallery. Naylor previously worked in fashion and design in San Francisco before returning to his native Baltimore in 2002 and establishing a sculptural practice. (You can read an LA Times feature story exploring this transition here).
Though it almost feels too pat to say so, the fact that Naylor chooses to stitch metal might have something to do with this background. To make the stitch marks cutting through the copper, Naylor used a piece of industrial equipment and the delicate nature of the thread required that he tape stitches down along the back. The majority of the works in the show are titled in series as rudiment # –, and as this implies, the works are minimalistic, typically joining two or three pieces of copper in offset shapes or proportions. Some of the standouts are the white on white pieces where Naylor has gotten into lots of detailed stitching and patterning, as well as the works such as espoo where the wooden armature is extended beyond the copper to create an almost figurative gesture, and standard the only freestanding rudiment.
Diapotèque is a group of nude photographs of women posed on top of glass and shot from below. It feels almost as if Ana Mendieta’s Glass on Body Imprints have been crossed with a Richard Avedon photograph or Vanessa Beecroft installation. The artist explains that the series relates to the objectification of beauty, and the women photographed by Remsberg tend to be uniformly good looking and well proportioned, striking dynamic poses that demonstrate this fact. The critique here might be of the absurdity that women face in attempting to frame themselves in the strictures of public perception and objectification. Many of the women look uncomfortable, and distort and contort their bodies to fit inside the narrow glass frame that Remsberg used to create his images. In Diapothèque 4 the model is posed like a threatening medusa, as if trying to escape the glass frame, or to at least convey how angry it makes her to be stuck in there.
Jordan Faye Contemporary is located at 1401 Light Street, and is open Tuesdays through Saturdays from 11:00 to 6:00. Diapothèque and infotropy are both on display until May 26th. Also, be sure to mark your calendars for an artist talk on May 6th from 1:00 to 3:00, as well as a panel discussion titled, “Photography as Object” on April 24th from 6:00 to 8:00.
All images courtesy of Jordan Faye Contemporary.
1.) Lat Naylor / espoo (2012) / Oil, stitching, wax, on copper and reclaimed wood / 66 x 42 x 1.5 in.
2.) Lat Naylor / rudiment # 18 (2012) / Oil, stiching wax, on copper and reclaimed wood / 31 x 32.75 / 1.5 in.
3.) Edwin Remsberg / Diapothèque 22 (2012) / Archival pigment print on diebond aluminum acrylic & steel enclosure / 48.25 x 24 x 3 in. / Edition 1 of 3
4.) Edwin Remsberg / Diapothèque 3 (2012) / Archival pigment print on diebond aluminum acrylic & steel enclosure / 48.25 x 24 x 3 in. / Edition 1 of 3
5.) Edwin Remsberg / Diapothèque 4 (2012) / Archival pigment print on diebond aluminum acrylic & steel enclosure / 48.25 x 24 x 3 in. / Edition 1 of 3