We are pleased to announce our third solo exhibition by Los Angeles based artist, Lynn Aldrich, a recipient of the prestigious Guggenheim Fellowship Award in Creative Arts, 2014

Titled "Light for the path, Water for the journey" is a body of work that consists of recent sculptural constructions.

Aldrich is known for her use of varied consumer products manipulated into subtle arrangements that are charged with poetic associations between nature and culture, transcendence and ordinary life. Her sometimes playful works remain formal and minimal, grounded in reality, while projecting layers of metaphor.

The centerpiece is a large wall installation of shapes cut from tarpaper, cardboard, and oil painted plastic titled "Rosy Future" -- a cathedral window morphing into a spinning galaxy. This work is inspired by the light filled paintings of Pieter Saenredam, the 17th century Dutch painter known for his depictions of church interiors. Aldrich discovered his work in 1998 when she had her first show at Art Affairs in Amsterdam.

About Saenredam, Aldrich says, “His quiet intellectual paintings oddly connected to my understanding of California Light and Space art. With few figures in the works, his subject becomes space itself within each studied rendering of a specific church architecture, and how exterior light engages it. Modern viewers at times dismiss the spiritual quality in the works, stressing Saenredam’s scientific observation and use of perspective, an exciting development of his time. But the images also open up a suppressed longing within us, not satisfied by contemporary materialism. “

Smaller works are from differing series, such as "Out of Ink: Remaining Embers" made from purchased inkpads and ink cartridges on a foundation of blotting paper soaked in ink. Light struggles to emerge from the inky darkness. "Velvet Painting: Heat Wave" is an accumulation of cut velvet bought in the Los Angeles fabric district. Here, too much light becomes heat.

"Free Refill: Never Thirst Again" is from the rain downspout series. These works are built from galvanized steel products available in American home improvement warehouses. The delicate steel leaf catchers on top are sold to keep the spouts unclogged. This metal work glows like a rarified church organ, while suggesting a drink offering in shades of blue.

"Losing My Lagoon" again signifies environmental loss while recording an almost frantic shopping spree. All kinds of cleaning implements are gathered, like a marine biologist searching for new specimens. With only slight manipulation, the sponges, brushes, and scrubbers become organisms on a commercial atoll. The water held in the middle is draining away.