At first glance, the works of Teo González’s “226,085 Drops” appear as rigid and methodical as their title suggests. Rows of thousands of miniscule cells fill each of the monochromatic canvases, resembling a microscope slide of some gaudy specimen. When viewed from a few steps back, however, the pieces take on dynamic lives of their own and seem to breathe within the confines of uniformity. This extraordinary balance can be viewed for free at the Irvine Contemporary Art Gallery where González’s piece is currently being shown.
González, a Brooklyn-based artist and native of Spain, works within the precincts of a strict pointillist system to create a surprising rhythm of ordered chaos. Though visually comparable to conceptual and minimalist art, González’s work embodies the creative process rather than some far-removed, esoteric idea. The artist’s tedious repetition results in an unintended emergence of undulating forms out of individual, static microcosms.
Though rendered with the same sequence of uniformly sized cells, González’s individual pieces demonstrate the innumerable ends achieved through a single technique. The artist explores the potential of pure pigments and the relationships of subtle and bold contrast. Copper blue seagram with 24 karat gold creates a glistening, reflective surface. Conversely, identical rows of cells in clear blue on Prussian blue recede to generate a greater illusion of depth.
Beyond González’s subtle drops are the eccentric and playful photographs of Iñigo Navarro Dávila’s “A backward step (un paso atrás)”, also currently on display at Irvine Contemporary. The Madrid-based artist creates photomontage images from dozens to hundreds of shots, resulting in energetic works reminiscent of elaborately orchestrated film stills. Subjects, including Dávila himself, are often repeated in photographs performing a variety of actions, at times deliberately gawky and mildly incriminating but consistently entertaining and thought-provoking.
“Jugona Buena (Girls Playroom)” features the repetition of a twenty-something female in pigtails long overdue for a time out. The setting and actions are amusingly ironic and somewhat disturbing. The subjects, surrounded by nostalgic childhood games, smoke cigarettes, pull each other’s hair, and, despite their advanced age, exemplify the quintessential hyperactivity of the average five-year-old. “El Bano (The Bath)” presents a more serene, insightful portrait. A young woman, a cigarette in one hand and a book in the other, is comfortably settled into a tranquil bubble bath. Piles of art and travel books surrounding the tub and dozens of post-its bearing perplexing mathematical equations seem to fence in the peacefully oblivious subject, though Dávila leaves the photograph’s meaning to the imagination.
“226,058 Drops” and “A backward step (un paso atrás)” mark González’s second solo exhibition and Dávila’s first at the Irvine, a modestly sized gallery a few blocks east of Dupont. While González’s pieces provide the viewer with a subtle, more pensive visual experience, Dávila’s cinematic photography will invoke the unruly, overgrown child within you.
To get to the Irvine Contemporary Art Gallery, hop on the G2 bus towards Howard University and get off at the intersection of 14th St. and P St. The gallery’s address is 1412 14th St.
