So Many Stars

July 28–September 4, 2021

Image 1 of 61
Installation view
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Installation view
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Installation view
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Jacci Den Hartog
Dark Castle, 1992
Plaster, Rubber
26 × 25 × 9 inches (66.04 × 63.50 × 22.86 cm)
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Jacci Den Hartog
Dark Castle, 1992
Plaster, Rubber
26 × 25 × 9 inches (66.04 × 63.50 × 22.86 cm)
Image 6 of 61
Installation view
Image 7 of 61
Diane Severin Nguyen
Gravity and Grace, 2018
LightJet C-print, steel frame
15 × 10 inches (38.10 × 25.40 cm)
Edition of 3 plus I AP
Image 8 of 61
Diane Severin Nguyen
Gravity and Grace, 2018
LightJet C-print, steel frame
15 × 10 inches (38.10 × 25.40 cm)
Edition of 3 plus I AP
Image 9 of 61
Diane Severin Nguyen
No Feeling is Final, 2019
LightJet C-print, steel frame
15 × 22 ½ inches (38.10 × 57.15 cm)
Edition of 3 plus I AP
Image 10 of 61
Diane Severin Nguyen
Holding Her Own, 2020
LightJet C-print, steel frame
15 × 10 inches (38.10 × 25.40 cm)
Edition of 3 plus I AP
Image 11 of 61
Diane Severin Nguyen
Water Belonging, 2020
LightJet C-print, steel frame
15 × 10 inches (38.10 × 25.40 cm)
Edition of 3 plus I AP
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Installation view
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Violet Dennison
Under the Grecian Sun/ Database, 2021
Polyurethane, aluminum, stainless steel, pigment
74 × 50 × 2 inches (187.96 × 127.00 × 5.08 cm)
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Violet Dennison
Under the Grecian Sun/ Database, detail, 2021
Polyurethane, aluminum, stainless steel, pigment
74 × 50 × 2 inches (187.96 × 127.00 × 5.08 cm)
Image 15 of 61
Violet Dennison
Under the Grecian Sun/ Database, detail, 2021
Polyurethane, aluminum, stainless steel, pigment
74 × 50 × 2 inches (187.96 × 127.00 × 5.08 cm)
Image 16 of 61
Violet Dennison
Under the Grecian Sun/ Database, detail, 2021
Polyurethane, aluminum, stainless steel, pigment
74 × 50 × 2 inches (187.96 × 127.00 × 5.08 cm)
Image 17 of 61
Installation view
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Jacci Den Hartog
Never Land, 1992
Hydrocal, rubber
67 × 22 × 9 inches (170.18 × 55.88 × 22.86 cm)
Image 19 of 61
Jacci Den Hartog
Never Land, detail, 1992
Hydrocal, rubber
67 × 22 × 9 inches (170.18 × 55.88 × 22.86 cm)
Image 20 of 61
Jacci Den Hartog
Never Land, detail, 1992
Hydrocal, rubber
67 × 22 × 9 inches (170.18 × 55.88 × 22.86 cm)
Image 21 of 61
Jacci Den Hartog
Never Land, 1992
Hydrocal, rubber
67 × 22 × 9 inches (170.18 × 55.88 × 22.86 cm)
Image 22 of 61
Installation view
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Jim De France
Tros Triptych (Ilium, Ilion, Ilios), 1987
Acrylic on birch and veneer
each: 24 × 22 × 2 inches (60.96 × 55.88 × 5.08 cm)
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Jim De France
Tros Triptych (Ilium, Ilion, Ilios), 1987
Acrylic on birch and veneer
each: 24 × 22 × 2 inches (60.96 × 55.88 × 5.08 cm)
Image 25 of 61
Jim De France
Tros Triptych (Ilium, Ilion, Ilios), detail, 1987
Acrylic on birch and veneer
each: 24 × 22 × 2 inches (60.96 × 55.88 × 5.08 cm)
Image 26 of 61
Jim De France
Tros Triptych (Ilium, Ilion, Ilios), detail, 1987
Acrylic on birch and veneer
each: 24 × 22 × 2 inches (60.96 × 55.88 × 5.08 cm)
Image 27 of 61
Jim De France
Tros Triptych (Ilium, Ilion, Ilios), detail, 1987
Acrylic on birch and veneer
each: 24 × 22 × 2 inches (60.96 × 55.88 × 5.08 cm)
Image 28 of 61
Installation view
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Shuriya Davis
Ilana's Repressed Sexual Desire, 2021
Oil on canvas
60 × 72 inches (152.40 × 182.88 cm)
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Shuriya Davis
Ilana's Repressed Sexual Desire, detail, 2021
Oil on canvas
60 × 72 inches (152.40 × 182.88 cm)
Image 31 of 61
Shuriya Davis
Ilana's Repressed Sexual Desire, detail, 2021
Oil on canvas
60 × 72 inches (152.40 × 182.88 cm)
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Installation view
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Ron Griffin
Untitled, 2010
Acrylic, toner and varnish on wood panel
60 × 60 inches (152.40 × 152.40 cm)
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Ron Griffin
Untitled, 2010
Acrylic, toner and varnish on wood panel
60 × 60 inches (152.40 × 152.40 cm)
Image 35 of 61
Jacci Den Hartog
Pink Accident, 1992
Polyurethane
35 × 30 × 6 inches (88.90 × 76.20 × 15.24 cm)
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Jacci Den Hartog
Pink Accident, 1992
Polyurethane
35 × 30 × 6 inches (88.90 × 76.20 × 15.24 cm)
Image 37 of 61
Ron Griffin
Untitled, 2020
Acrylic, toner and varnish on wood panel
8 × 10 inches (20.32 × 25.40 cm)
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Installation view
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Dominique Knowles
Ashes, 2018
Encaustic on muslin on panel
11 ½ × 17 ½ inches (29.21 × 44.45 cm)
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Dominique Knowles
Pigeon Gouged by Peregrine, 2020
Oil on panel
12 × 15 inches (30.48 × 38.10 cm)
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Clifford Prince King
Affirmations, 2021
Archival inkjet print on Canson Rag 310 gsm
48 × 32 inches (121.92 × 81.28 cm)
Edition of 5 plus II AP
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Installation view
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Eric-Paul Riege
run parallel with diyin+, hooghan and weaving dance (fig.3) for Na’ashjé'íí ́ Asdzáá, Retha, Effie, Angela, Hólǫ́—it xistz, my favorite things to be called r Son, yáázh, mijo–they remind Me of when u wove ur fingers thru My hair..meanwhile these poems bloomed..bury Me with these poems..when i wake again the flowers will call me Son, yáázh, mijo and ill remember when u wove ur fingers thru My hair, 2018-2021
Mixed fibers, photo sculpture
Dimensions variable
Image 44 of 61
Eric-Paul Riege
run parallel with diyin+, hooghan and weaving dance (fig.3) for Na’ashjé'íí ́ Asdzáá, Retha, Effie, Angela, Hólǫ́—it xistz, my favorite things to be called r Son, yáázh, mijo–they remind Me of when u wove ur fingers thru My hair..meanwhile these poems bloomed..bury Me with these poems..when i wake again the flowers will call me Son, yáázh, mijo and ill remember when u wove ur fingers thru My hair, 2018-2021
Mixed fibers, photo sculpture
Dimensions variable
Image 45 of 61
Eric-Paul Riege
run parallel with diyin+, hooghan and weaving dance (fig.3) for Na’ashjé'íí ́ Asdzáá, Retha, Effie, Angela, Hólǫ́—it xistz, my favorite things to be called r Son, yáázh, mijo–they remind Me of when u wove ur fingers thru My hair..meanwhile these poems bloomed..bury Me with these poems..when i wake again the flowers will call me Son, yáázh, mijo and ill remember when u wove ur fingers thru My hair, 2018-2021
Mixed fibers, photo sculpture
Dimensions variable
Image 46 of 61
Eric-Paul Riege
run parallel with diyin+, hooghan and weaving dance (fig.3) for Na’ashjé'íí ́ Asdzáá, Retha, Effie, Angela, Hólǫ́—it xistz, my favorite things to be called r Son, yáázh, mijo–they remind Me of when u wove ur fingers thru My hair..meanwhile these poems bloomed..bury Me with these poems..when i wake again the flowers will call me Son, yáázh, mijo and ill remember when u wove ur fingers thru My hair, 2018-2021
Mixed fibers, photo sculpture
Dimensions variable
Image 47 of 61
Eric-Paul Riege
run parallel with diyin+, hooghan and weaving dance (fig.3) for Na’ashjé'íí ́ Asdzáá, Retha, Effie, Angela, Hólǫ́—it xistz, my favorite things to be called r Son, yáázh, mijo–they remind Me of when u wove ur fingers thru My hair..meanwhile these poems bloomed..bury Me with these poems..when i wake again the flowers will call me Son, yáázh, mijo and ill remember when u wove ur fingers thru My hair, 2018-2021
Mixed fibers, photo sculpture
Dimensions variable
Image 48 of 61
Eric-Paul Riege
run parallel with diyin+, hooghan and weaving dance (fig.3) for Na’ashjé'íí ́ Asdzáá, Retha, Effie, Angela, Hólǫ́—it xistz, my favorite things to be called r Son, yáázh, mijo–they remind Me of when u wove ur fingers thru My hair..meanwhile these poems bloomed..bury Me with these poems..when i wake again the flowers will call me Son, yáázh, mijo and ill remember when u wove ur fingers thru My hair, 2018-2021
Mixed fibers, photo sculpture
Dimensions variable
Image 49 of 61
Installation view
Image 50 of 61
Beaux Mendes
Untitled, 2021
Scagliola (plaster, pigment, animal glue) on maple
26 × 19 × 1 inches (66.04 × 48.26 × 2.54 cm)
Image 51 of 61
Beaux Mendes
Untitled, detail, 2021
Scagliola (plaster, pigment, animal glue) on maple
26 × 19 × 1 inches (66.04 × 48.26 × 2.54 cm)
Image 52 of 61
Installation view
Image 53 of 61
Shuriya Davis
Time Capsule, 2021
Oil on glass, notebook paper, sketchbook paper, wood glue, staples, graphite, and urine
36 ¾ × 27 ¾ inches (93.35 × 70.49 cm)
Image 54 of 61
Shuriya Davis
Time Capsule, detail, 2021
Oil on glass, notebook paper, sketchbook paper, wood glue, staples, graphite, and urine
36 ¾ × 27 ¾ inches (93.35 × 70.49 cm)
Image 55 of 61
Shuriya Davis
Time Capsule, detail, 2021
Oil on glass, notebook paper, sketchbook paper, wood glue, staples, graphite, and urine
36 ¾ × 27 ¾ inches (93.35 × 70.49 cm)
Image 56 of 61
Shuriya Davis
John Henry, 2021
Oil on canvas
48 × 36 inches (121.92 × 91.44 cm)
Image 57 of 61
Shuriya Davis
John Henry, detail, 2021
Oil on canvas
48 × 36 inches (121.92 × 91.44 cm)
Image 58 of 61
Installation view
Image 59 of 61
Shuriya Davis
Kidnapped Pagan 1, 2021
Graphite on paper, gamsol, and oil
21 × 17 inches (53.34 × 43.18 cm)
Image 60 of 61
Shuriya Davis
Kidnapped Pagan 2, 2021
Graphite on paper, wood glue, and comic book clipping
21 × 17 inches (53.34 × 43.18 cm)
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Mathias Poledna
Actualité, 2001
11 × 22 ½ inches (27.94 × 57.15 cm)
Edition of 5

with works by Shuriya Davis, Jim De France, Jacci Den Hartog, Violet Dennison, Ron Griffin, Clifford Prince King, Dominique Knowles, Beaux Mendes, Diane Severin Nguyen, Mathias Poledna, and Eric-Paul Riege

Opening reception Saturday, July 31, 6–8 p.m.

“Last night, I saw Julia Roberts at dinner. Her mouth gave her away. It’s her signature quality; it’s what made her a star. America’s Sweetheart would have a big mouth. It’s iconic, always grinning or ready and willing for something to make it grin. It’s so wide it can contain everything. It’s a million dollars. It’s infinite. 

I googled pictures of it later finding multiple articles surrounding its impossible wideness. Her smile is described as “megawatt.” “Her grin couldn’t be contained…” reads another tabloid. Hugh Grant said she was a bad kisser because her mouth is too big. It was there, at the restaurant, I saw it and it’s real.

But last night it was not smiling, Julia Roberts was shielding her eyes from the three older women standing on the other side of the patio taking a photo of her back. She raised her arms up into an aggressive wave, “here I am!” she exclaimed with this motion. Her arms went rigid and pointy, her elbows stiff and sharp, the form her arms made in that moment was angular. There was nothing open about it, nothing like the infinity of her mouth. The women didn’t seem to take the harsh flail as a deterrent to their amateur paparazzi. I had wandered out to the patio to see if the mouth was really hers but when I saw this gesture I pretended that’s not what I was looking for, that this gesture was not also for me. She shook her head with her hands shielding her eyes. Must be hard. 

The abstraction of a star becomes five points, five triangles fastened together. Why do we turn these balls of fire into the rigidity of a lines? We love to put things in containers, we like lines, we like corners because they have an end. We like things that can make a mark, be stamped, repeated and printed. A constellation of gas and fire cannot be stamped and repeated. We don’t even really know what it is, if it really has an end.”

– Gracie Hadland, Los Angeles