divine GLUTT NY j o n
g o m e z
—
k ay l a n
g e o r g e
GLUTTONY An unpardonable sin entailing a total loss of grace. A required language credit when I attended Cornell University was reading Dante’s Inferno in its original tongue of Italian. The paradox of the legato of the Italian language and the profound horrors of the world that Virgil leads the pilgrim through is the seemingly insurmountable challenge that Kaylan George and Jon Gomez have undertaken; maintaining grace under fire of gluttonous subject matter. They are in esteemed company with the likes of John Altoon, Mike Kelley and Paul McCarthy, all who have been purged out the rectal cavity at the other end, grace intact, thus ingesting the underlying sin itself.
K AY L A N G EO RG E A banquet table: 25’ long, filled with a smorgasbord of childhood neglect, rejection, bestial mutilation, garnished with obsessive self-reflection and heaping portions of angst. Surprisingly absent from the feast; the belch of self-indulgence. / This 25’ journey coaxed along by tentacles, donned with prophylactic gloves, ink black, inflated with neglect. / Sterile white spaces—playgrounds for the chef or the diner? / Constipated bowels compacted with heroic detail. / Vermin being masticated in to hamburger meat spat out by the mark making that gave them life. / The grotesque and the pristine encased in perfect symmetry, Minimalism unravels her intestines. / Disharmonious systems, life, art, tango to an earth scorching rhythm.
JON GOMEZ SHYLOCK: “The pound of flesh which I demand of him is dearly bought, ‘tis mine, and I will have it.” (William Shakespeare, Merchant of Venice) / Gomez has given quite a bit more than a pound of his flesh, molded with charcoal, oozing from plus size frames, borders between bodies all but obscured. / Draftsman as sculptor. Coal dust as clay. / The corpulence is massaged on to surface, unctuous, even with the dryness of the medium. / Fetishistic in the pleasures that are derived from extracting impossible detail. The artist, emaciated from the transfer of life from the real to the visual, a leather carcass, road kill on a desert road. / Traditional beauty and symmetry are repugnant, stale and lifeless. / Undulating flesh is where it’s at. Taught perfection, blasphemy. / The artist very much biting off more than he can chew and there is no waste in this depraved landscape.
03
04
06
08
10
k ayl an george
14
21
23
25
jon gomez
29
30
32
36
38
43
45
46
48
50
INDEX
K AY L A N G EO RG E
JON GOMEZ
14. Crematorium, 2011-12
28. Untitled, 2011
40. Hands 2, 2012
34. Post-Mortem 3, 2010
Ink on Paper
Ballpoint on canvas
Graphite on paper
Graphite on paper
inches
62 x 60 inches
14x 17 inches
mounted on refurbished mat 36 x 28 inches
29. Self Portrait, 2011
40. Hands 1, 2012
Ballpoint on canvas
Graphite on paper
48. Post-Mortem, 2010
66 x 46 inches
14 x 17 inches
Graphite on paper, mounted on refurbished mat
34. Vessel 3, 2011
44. Feet 1, 2012
Charcoal on wood door
Graphite on paper
80 x 36 inches
14 x 17 inches
36x 28 inches 49. Post-Mortem 2, 2010 Graphite on paper
34. Vessel 1, 2011
44. Feet 2, 2012
mounted on refurbished mat
Charcoal on wood door
Graphite on paper
36 x 28 inches
80 x 36 inches
14x 17 inches
35. Vessel 2, 2011 Charcoal on wood door 80 x 36 in. 35. Vessel 4, 2011 80 x 36 inches Charcoal on wood door
2685 South La Cienega Blvd. Los Angeles, CA 90034 gallery@nyeplusbrown.com 310 559 5215 nyeplusbrown.com — In conjunction with Jon Gomez and Kaylan George: Divine Gluttony September 13, 2012 — Designed by Kyle LaMar & Kaylan George — Music by Dmitri Shostakovich Waltz No. 2