Sarah Braman
Carla Edwards
Olivia Erlanger
Lotus Laurie Kang
Anne Libby
Connor Marie
MPA
Eli Ping
Davina Semo
Night Gallery is pleased to present The Heavy Light Show, a group show featuring Sarah Braman, Carla Edwards, Olivia Erlanger, Lotus Laurie Kang, Anne Libby, Connor Marie, MPA, Eli Ping, and Davina Semo. This is the third exhibition in a series of immersive sculpture shows at Night Gallery North, following Samara Golden’s Guts and Josh Callaghan’s Family Tree (both 2022). The Heavy Light Show will be the final presentation in the gallery's current, open floor plan.
The Heavy Light Show, installation view, 2022
Olivia Erlanger, Mr. Held’s Class, 2020
plexiglass, architectural model, urethane resin, dibond, lichen, charcoal, wood, acrylic paint, artificial snow #15
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The Heavy Light Show, installation view, 2022
The Heavy Light Show brings together sculptures and installations from divergent practices, allowing natural light to exist as a unifying force and a silent collaborator with each artist. While the exhibition title and thesis nods to a provincial Californian history that embraces the liquid light shows of Glenn McKay and canonized “Light and Space” artists like Robert Irwin and James Turrell, each artwork on view has its own material and conceptual ambitions. The Southern California sunlight activates The Heavy Light Show and serves as a contextual architecture in place of the conventional atmosphere and armature of the white cube.
The Heavy Light Show, installation view, 2022
The Heavy Light Show, installation view, 2022
Throughout the day, hour by hour, the color of each work changes with the sun. Ensuing viewership is rooted in a shifting perception of otherwise permanent objects. Sarah Braman has embedded a glass cube into the side of an overturned wooden nightstand. The sides of the geometric form are composed of blue and pink glass, casting varying shades of purple across the gallery floor while imparting the hospitable beauty of the domestic space into an industrial cavern. Carla Edwards has cast replicas of the windows of the Metropolitan Detention Center, a prison in south Brooklyn. Five gray casts are suspended from the ceiling and hold slivers of colored glass which, when briefly illuminated, invokes the psychological violence of incarceration.
The Heavy Light Show, installation view, 2022
Anne Libby, Beholder Beta, 2022
powder coated steel, patinated aluminum, enamel
65 x 58 x 69 in (165.1 x 146.3 x 175.3 cm)
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The Heavy Light Show, installation view, 2022
Davina Semo, Mother, 2020-2022
patinated cast bronze bell, leather wrapped patinated solid bronze clapper, hemp shibari rope, powder coated stainless steel hardware, powder coated zinc plated steel chain
48 x 20 1/2 x 20 1/2 in (121.9 x 52.1 x 52.1 cm)
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The Heavy Light Show, installation view, 2022
The Heavy Light Show, installation view, 2022
Sarah Braman, Together, 2022
wood dresser, glass and paint
49 x 27 x 20 in (124.5 x 68.6 x 50.8 cm)
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Sarah Braman, Together, detail, 2022
wood dresser, glass and paint
49 x 27 x 20 in (124.5 x 68.6 x 50.8 cm)
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Throughout the day, hour by hour, the color of each work changes with the sun. Ensuing viewership is rooted in a shifting perception of otherwise permanent objects. Sarah Braman has embedded a glass cube into the side of an overturned wooden nightstand. The sides of the geometric form are composed of blue and pink glass, casting varying shades of purple across the gallery floor while imparting the hospitable beauty of the domestic space into an industrial cavern. Carla Edwards has cast replicas of the windows of the Metropolitan Detention Center, a prison in south Brooklyn. Five gray casts are suspended from the ceiling and hold slivers of colored glass which, when briefly illuminated, invokes the psychological violence of incarceration.
The Heavy Light Show, installation view, 2022
Eli Ping, Aphakic, 2021
plaster
16 x 12 x 1 in (40.6 x 30.5 x 2.5 cm)
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Lotus Laurie Kang, Root, 2020-2021
cast aluminum
14 5/6 x 15 3/4 x 17 in (37.7 x 40 x 43.2 cm)
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Elsewhere, natural light catalyzes alchemical events as it comes into contact with sculptures. In Laurie Kang’s architectural intervention Great Shuttle, unfixed sheets of photographic film are housed in steel construction studs. As light touches the surface of the piece, the magnets and steel that scaffold the film become positive space in an ever-evolving photogram. Choose Me, Hear Me, Stuff Me, Stitch Me, Fluff Me, Dress Me, Name Me, Take Me Home by Connor Marie collects eight glass orbs filled with potions. These concoctions combine organic (bile, seawater) and synthetic (Dior Dream Skin Youth-Perfecting Mask) ingredients, each orb possessing its own distinct hue. Placed on a lit pedestal, the work conflates the cleanliness of retail space with shamanistic ritual while simultaneously causing the internal microorganisms to come to life.
The Heavy Light Show, installation view, 2022
Connor Marie, Choose Me, Hear Me, Stuff Me, Stitch Me, Fluff Me, Dress Me, Name Me, Take Me Home, 2022
glass, seawater, Dior Dream Skin Youth-Perfecting mask, tallow, Lost Cherry by Tom Ford, collagen, bile, Sunday Riley Good Genes AHA Lactic Acid Treatment, lanolin, Irish sea moss, chlorophyll, rhodiola root, Latisse®, blood, reishi mushroom fruit body, Urban Decay eyeshadow in Psych, chlorella, broken cell wall algae, SkinCeuticals C E Ferulic, LactoSpore, Dior Lip Maximizer Hyaluronic Lip Plumper, symbiotic colony of bacteria and yeast, gluconic acid, Olaplex Nº.9, Lubriderm, Cowboy by Mondo Mondo, Amorotti Montepulciano d’Abruzzo 2016, black grass jelly, ylang ylang essential oil, Androstenol, Copulin, Estratetraenol, acrylic, MDF, LED lights
35 1/2 x 64 x 12 in (90.2 x 162.6 x 30.5 cm)
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The Heavy Light Show, installation view, 2022
The Heavy Light Show, installation view, 2022.
As shadows lengthen and contract over the coming weeks, each work will transform in ways that are not yet quantifiable. However, the objects will maintain their essences against the visual cues by which all time is measured—the cycling sun.
Olivia Erlanger
Mr. Held’s Class, 2020
plexiglass, architectural model, urethane resin, dibond, lichen, charcoal, wood, acrylic paint, artificial snow #15
45 x 30 x 30 in (114.3 x 76.2 76.2 cm)
Lotus Laurie Kang
Great Shuttle, 2020-2021
flex track, steel studs, airline cable, hardware, unfixed and continually sensitive film, photograms, spherical magnets, silicone, thread, cast aluminum anchovies, lotus root, perilla leaf, and cabbage leaf
120 x 384 x 64 in (304.8 x 975.4 x162.6 cm)
Overall dimensions variable
Carla Edwards
MDC Windows (Municipal Block), 2022
cast aluminum, laminated glass
49 3/4 x 17 3/4 x 10 1/2 in (126.4 x 45.1 x 26.7 cm)
Carla Edwards
MDC Windows (Municipal Block), 2022
cast aluminum, laminated glass
49 3/4 x 17 3/4 x 10 1/2 in (126.4 x 45.1 x 26.7 cm)
Carla Edwards
MDC Windows (Insomnia), 2022
cast aluminum, laminated glass
49 3/4 x 17 3/4 x 10 1/2 in (126.4 x 45.1 x 26.7 cm)
Carla Edwards
MDC Windows (Incessant Fluorescent), 2022
cast aluminum, laminated glass
49 3/4 x 17 3/4 x 10 1/2 in (126.4 x 45.1 x 26.7 cm)
Carla Edwards
MDC Windows (No Tapping On Windows), 2022
cast aluminum, laminated glass
49 3/4 x 17 3/4 x 10 1/2 in (126.4 x 45.1 x 26.7 cm)
Anne Libby
Beholder Beta, 2022
powder coated steel, patinated aluminum, enamel
65 x 58 x 69 in (165.1 x 146.3 x 175.3 cm)
Davina Semo
Mother, 2020-2022
patinated cast bronze bell, leather wrapped patinated solid bronze clapper, hemp shibari rope, powder coated stainless steel hardware, powder coated zinc plated steel chain
48 x 20 1/2 x 20 1/2 in (121.9 x 52.1 x 52.1 cm)
Sarah Braman
Together, 2022
wood dresser, glass and paint
49 x 27 x 20 in (124.5 x 68.6 x 50.8 cm)
Lotus Laurie Kang
Great Shuttle, 2020-2021
flex track, steel studs, airline cable, hardware, unfixed and continually sensitive film, photograms, spherical magnets, silicone, thread, cast aluminum anchovies, lotus root, perilla leaf, and cabbage leaf
120 x 384 x 64 in (304.8 x 975.4 x162.6 cm)
Overall dimensions variable
Connor Marie
Choose Me, Hear Me, Stuff Me, Stitch Me, Fluff Me, Dress Me, Name Me, Take Me Home, 2022
glass, seawater, Dior Dream Skin Youth-Perfecting mask, tallow, Lost Cherry by Tom Ford, collagen, bile, Sunday Riley Good Genes AHA Lactic Acid Treatment, lanolin, Irish sea moss, chlorophyll, rhodiola root, Latisse®, blood, reishi mushroom fruit body, Urban Decay eyeshadow in Psych, chlorella, broken cell wall algae, SkinCeuticals C E Ferulic, LactoSpore, Dior Lip Maximizer Hyaluronic Lip Plumper, symbiotic colony of bacteria and yeast, gluconic acid, Olaplex Nº.9, Lubriderm, Cowboy by Mondo Mondo, Amorotti Montepulciano d’Abruzzo 2016, black grass jelly, ylang ylang essential oil, Androstenol, Copulin, Estratetraenol, acrylic, MDF, LED lights
35 1/2 x 64 x 12 in (90.2 x 162.6 x 30.5 cm)
MPA
Omega, 2019
aluminum, powder pigment, lapis lazuli, nylon
53 1/2 x 47 x 7 in (135.9 x 119.4 x 17.8 cm)
MPA
Alpha, 2019
aluminum, powder pigment, lapis lazuli
53 1/2 x 47 x 5 in (135.9 x 119.4 x 12.7 cm)