GRACEFUL CADAVER, ELEGANT CARCASS

Co-Curated by BBQLA & Mike Nesbit

3149 Verdugo Road, LA, CA 90065

Showing: February 25th - March 10th, 2024

Artists : Aaron Estrada, Anabel Juárez, Andrew Sexton, Angie Seykora, Ben Noam, Brendan Lynch, Chris Lux, Daniel Paul Schubert & Andrés Cortes, Edward Salas, Elspeth Schulze, Esteban Ramón Pérez, Henrik Munk Soerensen, Johanna Jackson, Lizette Hernández, Malcolm Kenter, Nick Makanna, Patrick Walsh (JPW3), Quintin Atchison, Ryan Flores, Shane Darwent, Sofie Ramos, Tofer Chin, Vincent Pocsik, William Scott, Willy Reed, and Yeni Mao

Aaron Estrada, Closer To My Dreams (Atrapasueños), 2024, Razor wire, Barbed Wire, Chains, Blood, Spit, and Smoke, 40 x 40 x 90 in.

Anabel Juárez, Mira Sol, 2022, Glazed Ceramics, 35 x 25 x 8.5 in.

Andrew Sexton, Midlife Cactus, 2024, Leather and Bronze, 36 x 20 x 20 in.

Angie Seykora, Digest (Black Square), 2018, Polyester Fabric, Polyester Cable, Marbles, 6 x 30 x 30 in.

Ben Noam, Mushroom Dome 1, 2023, Ceramic, 21 x 18 x 7 in.

Ben Noam, Mushroom Dome 2, 2023, Ceramic, 21 x 18 x 7 in.

Ben Noam, Mushroom Dome 3, 2023, Ceramic, 21 x 18 x 7 in.

Brendan Lynch, Yankee Two, 2013, Chip Bags and Concrete, Dimensions Variable

Chris Lux, Blue Lamp, 2023, Glazed ceramic, Epoxy, Powered Pigment, Electrical cord, Lightbulb, 11 x 17 in.

Daniel Paul Schubert & Andrés Cortes, Shift, 2024, Wood, Metal, Glass, Oil, Ceramic, 9 x 8 x 11 ft.

Edward Salas, Auto Body Spiral Up, 2024, Clay, 16.5 in x 8.6 in.

Elspeth Schulze, Sieve, 2024, Perforated Sandbags and Sand, 36 x 24 x 24 in.

Esteban Ramón Pérez, Supertouch (Rana), 2020, Leather, Steer Horn, Peacock Feathers, Studs, Wood, Steel, 36 x 36 x 12 in.

Henrik Munk Soerensen, Pan with Lemon Slice, 2022-2024, Carved Wood, Gesso, Acrylic Paint, Oil Paint and Lacquer, 16 x 10 x 2.5 in.

Henrik Munk Soerensen, Lasagna with Golden Poppies, 2022-2024, Carved Wood, Gesso, Acrylic Paint, Oil Paint and Lacquer, 16 x 10 x 2.5 in.

Henrik Munk Soerensen, Pan with Asparagus, 2022-2024, Carved Wood, Gesso, Acrylic Paint, Oil Paint and Lacquer, 16 x 10 x 2.5 in.

Johanna Jackson, Yellow Lime Tree Garlanded with Stone Poems, 2024, Bear Lime Tree, Glazed Porcelain , Dimensions Variable, 6ft x 6ft x 8ft

Lizette Hernández, Ejemplo, 2023, Raku Fired Ceramic, 7 x 4.5 x 5.5 in.

Malcolm Kenter, Fernando The Flamingo, 2023, Gloss Resin and House Paint on Foam, Plastic and Plaster, 70 x 25 x 11 in.

Nick Makanna, Hydra III, 2024, Glazed stoneware, pump, water, pvc and epoxy resin, 25 x 25 x 60in

JPW3, SF Supermarket, 2020, Dirt, Wildflowers, Wire and Shopping Cart, 25 x 39 x 43in

Quintin Atchison, 7000, 2023, Hydrocal, Acrylic and Epoxy Resin, 5 x 1.5 x 2.5 ft

Ryan Flores, Red Papaya, 2023, Ceramic, 36 x 16 x 4 in.

Shane Darwent, Quarter Blue, 2023, Vinyl, Aluminum, Fluorescent LED Lighting, Concrete Base, 61.5 x 63 x 12 in

Sofie Ramos, Laundry Pile, 2024, Acrylic and Latex on Found Objects, Wood, 30 x 50 x 45 in.

Tofer Chin, Shield No. 1, 2024, Burned Cedar Wood Fence Pickets, Polyurethane, Acrylic on Folded and Stretched Canvas, 78 x 60 x 2.25 in.

Vincent Pocsik, Sitting with One Red Shoe in Walnut, 2023, Walnut, Resin and Lighting Elements, 62 x 28 x 24 in.

William Scott, WS 583, 2023, Acrylic on Paper Maché, 14 x 12 x 7.5 in.

Willy Reed, Watsh Me, 2023, MDF, Paint, Glazed Ceramic, Reduction Fired Ceramic, Grout, Candles, Lights, Strobe Kit, Sideview Mirrors, Inkjet Prints, Wood, 64 x 30 x 24 in

Yeni Mao, fig 24.1 droid, 2020, Steel, Ceramic Tile, Leather, Acrylic Enamel, 30 x 18 x 14.5 in.

GGLA is proud to present Graceful Cadaver, Elegant Carcass, co-curated by BBQLA and Mike Nesbit. This marks the second in a series of exhibitions and collaborations that form Ubiquitropolis, a sprawling constellation of shows organized by GGLA, ringing true to the sense of omnipresence referenced in the title.

Housed in an unassuming warehouse located a few blocks from GGLA’s main gallery space at 3149 Verdugo Road, the exhibition invites viewers into a cavernous space containing sculpture. The exhibition title refers to the collaborative drawing game “Exquisite Corpse,” which originated with a group of Surrealist artists in the early 1900s to create impromptu compositions with others. Like this game, Graceful Cadaver Elegant Carcass operates in much of the same way, placing the viewer in a physical setting where they must navigate a series of sculptures, each made by an artist or duo separately, yet combined within space to inform and inflect upon one another, building meaning and narrative through each chance association.

Each work within the exhibition is a world within itself, yet placed within the context of one another, deeper meanings are both built and broken, and the viewer is forced to reckon with this unruly and unfurling constellation of limbs, torsos, heads, and legs, all frankensteined together to form the three-dimensional exquisite corpse that is Graceful Cadaver, Elegant Carcass.