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Sat November 22, 2014

Rise and Fall

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Chandra Cerrito Contemporary is pleased to announce Rise and Fall, a solo exhibition of all new works by Randy Colosky. Randy Colosky is a conceptual artist who transforms mundane materials into optically engaging, poetic works. For his second solo exhibition at Chandra Cerrito Contemporary, Colosky uses engineered ceramic block as the medium for freestanding sculptures in a range of scales and forms. This material, more commonly found in car engines and furnaces, is essentially an extruded grid of porcelain. Colosky assembles and carves into its honeycomb-like structure to create sculptures that hover between earthy--due to the clay-based nature of the material--and high tech--due to the pixilated optical quality of the gridded surface.
From certain vantage points, areas of the sculptures appear to completely dematerialize, as the negative spaces within the porcelain grid are all that are visible. This phenomenon invites viewers to actively engage in looking while moving around the works. In his most recent sculptures, forms resemble miniature earth works—ringed cavities, mountainous peaks and rippled surfaces—while earlier works recall ancient monoliths or the craggy rock formations of Chinese scholar stones. As with much of Colosky’s work, shapes appear to be midstream in the process of formation or decomposition, recognizing the ever-presence of flux and transition within the material world.
Chandra Cerrito Contemporary is pleased to announce Rise and Fall, a solo exhibition of all new works by Randy Colosky. Randy Colosky is a conceptual artist who transforms mundane materials into optically engaging, poetic works. For his second solo exhibition at Chandra Cerrito Contemporary, Colosky uses engineered ceramic block as the medium for freestanding sculptures in a range of scales and forms. This material, more commonly found in car engines and furnaces, is essentially an extruded grid of porcelain. Colosky assembles and carves into its honeycomb-like structure to create sculptures that hover between earthy--due to the clay-based nature of the material--and high tech--due to the pixilated optical quality of the gridded surface.
From certain vantage points, areas of the sculptures appear to completely dematerialize, as the negative spaces within the porcelain grid are all that are visible. This phenomenon invites viewers to actively engage in looking while moving around the works. In his most recent sculptures, forms resemble miniature earth works—ringed cavities, mountainous peaks and rippled surfaces—while earlier works recall ancient monoliths or the craggy rock formations of Chinese scholar stones. As with much of Colosky’s work, shapes appear to be midstream in the process of formation or decomposition, recognizing the ever-presence of flux and transition within the material world.
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Art

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480 23rd Street, Oakland, CA 94612

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