J.A. Feng
Images | Biography

Greg Colson
Trending and Non-Trending
Images | Biography

Laura Forman
New Work
Images | Biography



September 7 - October 12, 2019

Reception: Saturday, September 7, 5-7PM

Artist Talk: Saturday, October 5, 11am
RSVP by Thursday, October 3

Los Angeles-based artist, Greg Colson, presents Trending and Non-trending, an exhibition of new paintings and sculpture. Works depicting systems of comfort, convenience, and serenity are punctured by representations of mortality and pressing social issues. Hot tub design and lumbar pillows collide with “single use plastic” and “teen vaping” in a kind of absurdist poetry. By playing up the physical aspects of his works, Colson allows the background support and surfaces to infringe upon the systems he depicts - creating a balance of importance between material and concept.

Greg Colson lives and works in Los Angeles. His work has been exhibited throughout the United States and Europe, including solo exhibitions at Sperone Westwater, New York; Patrick Painter Inc., Los Angeles; Kayne Griffin Corcoran, Los Angeles; Konrad Fischer, Dusseldorf; Galleria Cardi, Milan; Kunsthalle Lopem, Bruges; Gian Enzo Sperone, Rome; Baldwin Gallery, Aspen; and the Lannan Museum, Lake Worth, FL. His works are held in public and private collections internationally including: the Whitney Museum of American Art, New York; Museum of Modern Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art, Los Angeles; Los Angeles County Museum of Art; Edward Ruscha, Los Angeles; Beth Rudin DeWoody, New York; the Panza Collection, Varese, Italy; Moderna Museet, Stockholm; Sammlung Rosenkranz, Berlin; and the Hammer Museum, Los Angeles.

In her first solo exhibition at Craig Krull Gallery, J.A. Feng presents a series of paintings that shine and throb, as though each canvas has a glowing, beating heart beneath its surface. Painting with luminous color, Feng creates myth-driven narratives to tap into the strength, and constraint, that can be found in the emotional and psychological landscape of women. As she states, a painting is “an altar to empathy. Through the use of cosmic, primal, and cartoonish surrogate forms, I depict poetic moments of vulnerability, tenderness, and humor, in the midst of the awkward and absurd, the terror and pleasure that is the sublime.” By layering transparent glazes that flicker over still visible, coarse, linen and jute terrains, Feng references the passage of time, “the sensation of recalling memories and gazing into the subconscious.” Her technique also “obliterates and obfuscates boundaries between forms,” ultimately allowing Feng’s personal mythology of the female condition to be universal, and open for everyone. “The resulting iconic yet nebulous forms create a certain specificity within ambiguity, like a Rorschach, inviting open readings of the imagery.” The title of Feng’s exhibition, Mothership, hints at the eerie abstraction, yet familiar distinction, of the human form, the simultaneous feelings of playfulness and pressure that come with living in these bodies in this society, while also reminding us that we are all aboard one vessel, together.

Based in New York City, J.A. (Jackie) Feng has had solo exhibitions at the New York Art Residency and Studios (NARS) Foundation, Brooklyn, NY; Northwestern Oklahoma State University, Alva, OK; and Boston University, Boston, MA. She has also been exhibited at Gallery 12.26 at the Dallas Art Fair, Dallas, TX; Concord Center for the Visual Arts, Concord, MA; Gallery Korea of the Korean Cultural Center, New York, NY; Morgan Lehman 2, New York, NY; AGENCY Gallery, Brooklyn, NY; Centotto Gallery, Brooklyn, NY; Skowhegan School of Painting and Scultpure, Skowhegan, NY; and Emerson College, Boston, MA. She has received fellowships from NARS Foundation, Vermont Studio Center, and Skowhegan School of Painting and Sculpture.

Also exhibiting at Craig Krull Gallery for the first time, Laura Forman creates precise pastel drawings and plaster sculptures of ordinary, unremarkable objects. She subtly manipulates these commonplace artifacts in ways that throw their meanings into question. A figurine of a little girl has a cross of ashes on her forehead, an anvil is embossed with the word “Utopiae,” and a battle monument is contrasted with an ancient termite mound on commemorative plates. A primitive wooden club, composed of white plaster, is transformed into a pristine, ephemeral object. Despite the specificity of her manipulations, Forman makes room for a variety of associations, delivering the implication of meaning rather than the certainty of it, offering a point of play between her world and the world of the viewer.

Los Angeles-based Laura Forman has had solo exhibitions at Sloan Projects, Santa Monica, CA, and the California Insitute for the Arts, Valencia, CA, and has been a part of group exhibitions at High Energy Constructs, Los Angeles, CA; the Los Angeles Municipal Art Gallery, Los Angeles, CA; and the California Insitute of the Arts, Valencia, CA. In 2005, she received a Selected Honor from the Los Angeles Municipal Art Gallery.