Jennifer J. Lee: Wallflowers

1206 S Maple Ave. Suite 1030
Sep 12, 9 AM - 6 PM — ends Nov 07, 2020
[By Appointment]

Jennifer J. Lee’s diminutive and potent works survey the ways in which a painting might arrest, transform and materialize the image at its source. For Wallflowers, Lee’s first solo exhibition in Los Angeles, the artist has prepared eleven new paintings which will be on view at Château Shatto from September 12 through November 7, by appointment.


Lee builds her paintings on jute, a fibrous material that poses more resistance and discontinuity than conventional linen or canvas. The resistance that this surface presents to oil paint and the fine tip of a brush emulates the corrupted transmission of information that takes place when a visual subject is surrendered to the representational space of a jpeg. A fuzziness is lifted from the brittle image and supplanted on the receptive texture of jute.


The enduring question of how painting reforms itself as the formats and appearances of images evolve is expressed in Lee’s work through a correspondence between circulated and attenuated digital images and the artist’s material choices, which lend themselves to enacting both the visualization and the degradation at play in this process of transference. A symmetry emerges between the approximation performed by the digital image and the approximation performed by painting.


Seeking her subjects, Lee plucks itinerant images from circulation and presents them as non-sequiturs, the prevailing arrangement of visual feeds produced by algorithmic media. The relations between the subjects in this grouping of works are elastic: there are moments of proximity, mostly in shared compositional qualities and optical effects, but there is also a deliberate range. A textured concave object in one painting is counterbalanced by a smooth and reflective convex object in another. Several works are composed from crops of images that are representational, yet the insistent patterning that furnishes the objects or repetition that provides their structure tilts the painting towards a vibrational abstraction. Throughout Wallflowers, there is a rousing reciprocity between content and form and one experiences these paintings in the indeterminable space between the two.

Appointments:
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