by J. Antonio Farfan, September 30, 2011
There’s expectation of sorts, walking into a gallery space to see an artists full expression lined up along a wall at center to eye level. A repetitive landscape common in most month long receptions honoring and promoting a body of work. Curator, gallerist, arts agent, all following the ‘standards’ of hanging a show.
Much to the honor of his own character, wit, and undeniable pursuit of truth. Kelly Gale Amen’s show, “Functional Art. Functional Parts. Functional Parks” at gallery 214 is nothing less than a complete break with expectation. The initial chaos of the visual lends itself to describing a truth that has a gradual and consistent reveal. You’ll wind up “getting it” after its fully absorbed. The presentation is a grand and furious exploration of space and scale. An elegant gold fabric table placed at the entrance is a moderate glimpse of what sits in the room ahead. On entering the main room, a circular park like environment, with trees and benches lay at center anchored by the bronze and patinaed reverse curve bench. Beautiful it is but no match for the two outstanding aspects of the show that carry with them the backing of history and power to move all things forward. Claes van Oldenburg and Coosje van Bruggen breathe life into two totems of soft pillows named poofs, gently cascading on either side of the room. The amount of detail in the fabric and beauty of the form is luring to the eye.
At the northeast corner of the room, with a power to gravitate the entire show is the most compelling and magnificent of all Kelly’s work. The scale of the Oil Drum Bench is accentuated by its upright placement besides a mirror to reveal the underneath brings to mind an archeological find. Its imposing dark color and powerful form lend a visual connection to the Venus of Willendorf or a fertility goddess who embraces the masculine and feminine characteristics of human nature.
This show takes all truth into consideration, human nature, the psychological state of the now, the truth in motion and the expertise of scale, all from a man whose taught me that the subtle nature of art and its business is not so subtle.
