For over a decade now, as one of the main galleries for the promotion of emerging new artists, and the collaboration with established artists rooted in pop-culture, Corey Helford Gallery, continues to push the boundaries and to generously award its loyal public with some of the best exhibitions, events, and projects. For October, the Corey Helford Gallery exhibition program promises this, and much more than before. After nine years in Culver City, the new robust 12,000 sq.ft building in Downtown Los Angeles, which became the new home for the gallery in 2015, offers an opportunity for three parallel exhibitions to occur. This coming month starts off with a series of new paintings by Martin Wittfooth ,the new production of Korin Faught, and Hannah Yata.
As his first solo exhibition at the Corey Helford gallery since 2012, Martin Wittfooth presents the world in conflict. The Archaic Revival incorporates a new series of oil paintings and marks the first series in which Wittfooth explores bronze sculpture as his medium. By the choice of the exhibition title, Wittfooth refers back to the late philosopher Terence McKenna, and attempts to further explore and even illustrate the philosopher’s opinion that the Western culture had lost itself and became ill. Attempting to return back to oneself, the process of healing has begun and requires a return to the past and nature where we are truly reflected back as who we are. Paying much attention to the scale of his work, and incorporating a variety of approaches to the application of color by switching from the delicate brush strokes, to the use of a palette knife for a highly textural effect, this New York-based artist attempts to revitalize the conversation of the healing past presented through the symbolic quality of the animal world.
Similarly, Hannah Yata’s phantasmagorical female figures and animals of the new series Dancing in Delirium embody the free-spirited existence in the tinted world. Yata's female figures, which she often combines with animal parts creating dreamlike creatures, are rich symbols that help the artist explore some of the most philosophical and metaphysical issues, such as religion, literature, psychology, and her own experiences as a woman. With the strong contrast between the beautiful images and the dark subject matter, Yata’s latest series is a warning sign that one should pay attention to the way one interacts with the world. Her first solo exhibition at the gallery is, in fact, a magical defiance in the face of a world turned upside- down. Unlike Yata, the female figures of Korin Faught take us back to the time of mid-century design and fashion. Her mysterious and gothic women are usually twins or even triplets that inhabit a setting which has trapped them and cut them off from the rest of the world. Faught’s production is charged with a specific atmosphere which unsettles and captures the viewer’s attention.
Since its opening in 2006 by Jan Corey Helford and her husband, television producer and creator, Bruce Helford, the gallery continues to represent a diverse collection of international artists who collectively represent New Figurative Art, Pop Surrealism, Neo Pop, Graffiti, Street, and Post Graffiti Art.
The three exhibitions which mark the beginning of yet another month at the gallery present to us somewhat dark views of the world today through some of the most beautiful images produced. Martin Wittfooth ‘s The Archaic Revival, Hannah Yata’s Dancing in Delirium, and Korin Faught’s Lost Days, will open on October 1st , 2016 and will last until October 29th, 2016. To view Korin Faught’s mysterious women please visit Gallery 2, while Hannah Yata’s metaphorical hybrid characters await you at Gallery 3.
All images courtesy of Corey Helford Gallery, Los Angeles. Featured image in slider: Hannah Yata – Insomnia, detail; Martin Wittfooth – Moratorium, detail; Korin Faught - Death Pillow; Corey Helfor Gallery - Exhibiton posters.
Los Angeles, United States of America