1733A Abbot Kinney Blvd
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Mark Schoening, "whiteout" (detail), 2012. Acrylic, latex, spray paint, silkscreen ink, glitter, and resin on panel, 22.5" x 30".
Opens Thursday Nov 29, 2012 (6–8pm)
Nov 29, 2012 – Jan 12
1733A Abbot Kinney Blvd
Marine Contemporary, in special partnership with Yasmine Mohseni, is delighted to present Recordings of a Lone Infantryman, a solo exhibition of recent work by artist Mark Schoening. Ever the intrepid explorer, Mark Schoening’s work exists at the frontier where information fragments and explodes into abstract form. The artist operates as a documentarian, creating sculptures and multi-layered paintings investigating the gestation and dissemination of information. The inception of a single quiet thought is added to and built on until it becomes a frenzied barrage of information. Working with acrylic, latex, spray paint, ink, silkscreen and resin, the artist creates a three-dimensional like space populated by a complex network of abstract forms. Simple geometric forms and lines create architectural backdrops from which emerge fictional landscapes.
In his work, Schoening confronts contemporary high-speed urban existence, documenting society’s ravenous appetite for content which, when combined with a steady onslaught of advertising, results in a desensitized population accustomed to immediately summoning information and, just as quickly, discarding or forgetting it. The artist draws a parallel between writhing abstracted forms suspended in space and the anxious cycle of information consumption. As the eye sinks into the depth of the composition, one seeks to grasp the space occupied by these abstract forms. Each painting embodies a space in a constant state of flux through which information is funneled and dispersed, as epitomized in "Contained, 2012."
In Recordings of a Lone Infantryman, Mark Schoening introduces sculpture for the first time. As much as Schoening’s paintings occupy a two-dimensional realm of dizzyingly violent clashes, his sculptures exist at the other end of the visual spectrum, revealing a contemplative and pared-down approach. The color-saturated objects seem to be a departure from the concepts explored in Schoening’s paintings when, in fact, they are its visual dissection. These building blocks embody the potential energy that exists at the beginning stages of the painted works. Small objects are made in multiples, reflecting little geometric bytes of colorful information, which draw the eye into an infinite and repetitive visual loop.