Works Gallery
Artist Information

Hilary Pecis
Familiar Views

Opening Reception: Saturday September 29nd, 6-9 pm
Exhibition Dates: 
September 29nd – November 24th, 2018

A stack of artist monographs lie heavy on the left side of one of Los Angeles based painter Hilary Pecis’ compositions, the titles running the gamut of painters from Fairfield Porter and Florine Stettheimer to Kerry James Marshall and Henri Rousseau–lovingly depicted in the artist’s confident hand.  Beside them sits a ceramic vase with lilies overflowing, the discerning eye realizing that the vase is an original piece by the funk-art legend Maija Peeples-Bright, with a painting in the background alluding to yet another artist that has played a role in Pecis’ life and development as a painter. These are self portraits made in remove, works that both intimately invite you into the home and spaces around LA and California that the artist visits, as well as puzzle pieces through which we construct a fuller understanding of the artist as we stroll from work to work.

Pecis’ paintings within Familiar Views feel both rooted within the history of painting, of the still-life and landscape traditions in particular, and emblematic of the contemporary space which painting holds.  The classical techniques of intense rendering and lush blends of oil paint are traded for Pecis’ textural and flattened compositions and a penchant for odd perspectives, translated through the artist’s handling of her favorite local acrylic paint manufacturer: Novavcolor. Much like their art historical connotations, there’s an ever-present layering in Hilary’s works, of experiences, of references, of objects and space––a casual density found throughout the works in her solo exhibition, regardless of content or location. The paintings bounce fluidly from domestic spaces and the artist’s garden, to desserts and the jagged mountains that surround LA, and back to the scenes that feel archetypally of Southern California–low slung markets, aging signage, and of course the ever-present hovering palm tree.

Regardless of the space inhabited by the painter’s gaze, there lies an overarching feeling of comfort–of being invited into the artist’s home or following along on the family’s travels. And at a time in which social media beckons its users to actively package their lifestyles and “live” exciting experiences for the vicarious consumption of others, there lies an alluring and sincere confidence conveyed in Pecis’ invitation to inhabit some of the quieter moments in the artist’s life.

Hilary Pecis has exhibited across the United States, including recent exhibitions at Rachel Uffner (New York, NY); Halsey McKay Gallery (East Hampton, NY); Josh Liner Gallery (New York, NY); The Pit (Los Angeles, CA); 0.0 Gallery (Los Angeles, CA); Galerie Drost (Paris, FR) and V1 (Copenhagen, Denmark). In San Francisco, Pecis’ work has shown at Guerrero Gallery, Gallery 16, Luggage Store, Catherine Clark and Southern Exposure. Pecis was the recipient of the Murphy and Cadogan Fellowship in 2008 from the SF Arts Commission. Hilary received her MFA from California College of the Arts in San Francisco, and lives and works in Los Angeles, CA.

 

Jamie Felton
A Puddle of Snail Juice

Opening Reception: Sunday October 28th, 3-6 pm
Exhibition Dates: 
October 28th – November 24th, 2018

The scene is familiar–a huddled group of teenagers surround a dusty book lit by candlelight, summoning an unknown force as they stumble through perverse diagrams and an incantation written in an unfamiliar language. This experience, though often reserved as a movie trope, is not unlike coming into contact with a work by the LA-based painter Jamie Felton.  Layers of dense visual language coalesce, bat heads protrude, naked forms crawl across the picture plane, and flowers dance and wilt as a witchy figure watches over the whole scene.

Felton’s exhibition A Puddle of Snail Juice, playfully plumbs the depths of the occult, psychedelic and grotesque as a means of exploring, critiquing and defying culturally imposed definitions of beauty and femininity. Even the exhibition’s title, a seemingly comical line within a potion recipe, references a current beauty trend in which snail excretions are bottled and sold as skincare salves to prevent aging. The most colorful of Felton’s paintings, depicts this scene as snails climb up the picture plane, across segmented faces, droplets of slime raining down. Beneath mirrored figure brushes their hair at the top of the painting, and a high-heeled wearer dons a wavy picture frame beneath, as floral embellishments weave throughout the bordered scenes.

From scenes of growth and decay; self care, preservation and presentation, Felton’s paintings remind us that the abjected figure of the witch, was never a monster, but a self-possesed woman who broke from normative social constraints and behaviours.

Jamie Felton b. 1986, lives and works in Los Angeles, CA. Felton received her BFA from Virginia Commonwealth University and completed her MFA at Tyler School of Art, Temple University, in painting. She participated in Skowhegan School of Painting and Sculpture (2014). Her work has been exhibited at Steve Turner (LA, CA) Nicodim Gallery (LA, CA) BBQLA (LA, CA) 0-0-LA (LA,CA) Elevator Mondays ( LA,CA) Nudashank Gallery in (Baltimore, MD), Interstate Projects, Greenpoint Terminal Gallery, BRIC Rotunda Gallery in (Brooklyn, NY), Katzen Museum, American University in (Washington, DC), Vox Populli in (Philadelphia, PA), Torrance Museum (Torrance, CA) and The Woodmere Museum (Philadelphia, PA). Felton has attended several residencies including Millay Colony for the Arts (2014) and The Lighthouse Works (2014). She has been a finalist for the Dedalus Foundation Grant (2012), awarded the Deans Grant (2013) and received the Bar Fund Grant(2018).