The Randall Scott Gallery is pleased to present our September exhibition; A two person exhibition by David DiMichele: Pseudodocumentation and Chris Anthony: Stages from September 10th-October 17th 2009. Also on exhibition in our Project Room: new photographs by Lara Jo Regan. An artist’s reception will be held on September 10th from 6pm-9pm. Artists will be in attendance.
Los Angeles based artist David DiMichele creates the fantastic. His environments follow contemporary trend to construct the monumental, to surround the viewer with visual stimulus. His work however is assembled, not in the cavernous halls and galleries of museums and art centers, but on a table in his studio.
DiMichele builds his environments as finely detailed dioramas and then he photographs them. His “pseudodocumentary” photographs comment on the way we see and experience the monumental art that it pays homage to. Not often can the public experience the physical sense of an enormous installation. Most commonly, we see the work through a reproduction or website. Working in this manner, DiMichele can take the “installation shot” much further. Controlling light, angle and composition. And heighten the experience.
As a photographic artist and filmmaker, Chris Anthony’s world is anything but normal. His large scale photographs are an intersection of Renaissance set and costume design, melted with a process that employs both antique photographic equipment and the modern technology of post-production. Anthony’s work is lush and painterly. He creates an image that is akin to film work in its narrative stemming from a childhood memory of creating stage plays.
For Stages, Anthony rented an old hotel in Downtown Los Angeles once owned by Charlie Chaplin to create a sweeping backdrop of space lost in time. He photographs his subjects in mid-dream, or in a state of semi-consciousness amplified by distinct props and the presence of small figures, visions manifested from the sub-conscious.
Opening our Project Room, Lara Jo Regan brings us two new photographs that examine the abstractness of personal body augmentation. Regan documents fake things people try to hide, then rearranges the images into conceptual pieces that incite further contemplation of the meaning of beauty.
Regan’s career has been diverse with accolades in photojournalism (World Press Photo of the Year) editorial photography, filmmaking and fine art. With a background in Anthropology, Regan’s work combines painterly aesthetics with closely observed behavioral studies and oblique social commentary.