A



Aglaé Bassens
Do Not Disturb
04.05.24 - 05.11.24
Dallas

Claudia Keep
In Bed 
04.05.24 - 05.11.24
Dallas


Upcoming
Past

Emma cc Cook
Manners, Hayseed
03.02.24 - 04.01.24
Dallas

Moll Brau
The Living Room
03.02.24 - 04.01.24
Dallas



apricity
12.16.23—02.10.24

Dallas and Los Angeles




Sean Cairns & Joel Murray
Everyday Magic, Everyday Music
07.08.23 - 08.05.23

The Range
06.10.23 - 08.05.23


Emily Furr
Extra Strength
04.19.22 - 06.03.23


Fernanda Mello
Boundless Little Darkness
04.19.22 - 06.03.23


J.A. Feng
Creature Cravings
03.11.23 - 04.15.23

Gray Wielebinski
Love and Theft
02.11.23 - 04.01.23
12.26 West

Kevin Ford
Here
02.03.23 - 03.04.23

Chris Johanson & Johanna Jackson
The Chimes We Find
12.10.22 - 01.28.23

Aglaé Bassens
A Light Touch
11.06.22 - 12.23.22
12.26 West, Los Angeles

Keer Tanchak
A stranger every time
10.08.22 - 11.12.22

Emily Furr
Mechanical Poems
Works on Paper
12.26 West
09.25.22 - 10.29.22

Julia Maiuri
Mindscreen
08.27.22 - 10.01.22

Brandon Thompson
When You See Me, Make A Wish
07.09.22 – 08.26.22
12.26 West, Los Angeles

Sarah Ann Weber
The first green light of the sun
06.04.22 - 07.30.22

Ida Badal and Nik Gelormino
3 and 4
05.15.22 - 06.30.22
12.26 West, Los Angeles

Claire Colette
Open Channel
04.20.22 - 05.25.22

Liz Nielsen
Electric Romance
04.20.22 – 05.25.22

Hasani Sahlehe
Sky, You, Water, Ground
03.12.22 - 04.09.22

Austin Eddy
Above The House Where Paul Verlaine Died
03.12.22 - 04.09.22

David-Jeremiah
I Drive Thee
01.29.22 - 03.05.22

Marjorie Norman Schwarz
Six Patiences
12.11.21 – 01.22.22

Aglaé Bassens
Empty Threats
11.10.21 - 12.08.21

Amy Bessone
Amy’s World
09.11.21 - 10.30.21

Possibility Made Real:
Drawing & Clay
Curated by Julia Haft-Candell
05.22.21 - 07.30.21

Sophie Varin
Halfway There
06.16.21 - 07.24.21
12.26 West, Los Angeles

Emily Furr
Dynamite Bridge
05.15.21 - 06.13.21
12.26 West, Los Angeles

Keer Tanchak & Janet Werner
Romantik
04.17.21 - 05.15.21

Karla García
I Carry This Land With Me
02.27.21 - 04.09.21

Eve Fowler
Just Seated Beside The Meaning
01.09.21 - 02.20.21

Kevin Ford
Same Same
01.09.21 - 02.20.21

Rachel Jones
A Sovereign Mouth
10.30.20 - 12.19.20

Theodora Allen
Light Pollution
09.12.20 - 10.24.20

David Gilbert
The Great Outdoors
06.06.20 - 08.22.20

Gray Wielebinski
Two Snakes
06.06.20 - 08.22.20

Emily Furr
Cloudbusting
02.22.20 - 03.28.20

J.A. Feng
Low-Slung & Far-Flung
02.22.20 - 03.28.20

Molly Larkey
Utterance
01.11.20 - 02.15.20

Joel Murray
People and Ocean and Sky
01.11.20 - 02.15.20

Marjorie Norman Schwarz
Slow Change
01.11.20 - 02.15.20

Ry Rocklen
Food Group: On the Table
11.23.19 - 01.04.20

Cary Leibowitz
The Queen Esther Rodeo
11.23.19 - 01.04.20

Johanna Jackson
09.28.19 - 11.16.19

Alex Olson and Nancy Shaver
Waters
09.28.19 - 11.16.19

Austin Eddy: Above The House Where Paul Verlaine Died




At the end of Ernest Hemingway's 1936 short story “The Snows of Kilimanjaro,” the dying narrator reminisces on his time in Paris, lingering fondly on the details of the urban environment: sprawling trees, old white plastered houses, smooth asphalt under bicycle tires, and the “cheap tall hotel where Paul Verlaine had died.” The way that these concrete objective details conjure up a certain subjective mood—a poignant intermingling of bliss and doom—helps guide us toward understanding the artistic ideas we find in the work by Austin Eddy, whose title alludes to this literary moment.

Eddy explains that his work takes an emotional observation—a subjective sense of what it is like to be in a certain time and place with certain people (what philosophers refer to as ‘qualia’)—and explores how to recreate or transcribe that observation by means of blocking out shapes and colors. What was it like for Hemingway’s narrator Harry to remember Paris, lying sick on his cot in the last days of his life? That is the kind of feeling that Eddy’s work might elicit in its viewers.

To this end, the elegant birds here appear less the way a scientist would see them (documenting wingspan, plumage, etc.) than as emblems of personhood. These birds are beings who see, feel, sleep, nest, couple and sing, much the way Emily Dickinson visualized hope as a thing with feathers, that sings the tune without the words, and never stops at all. The poetic nature of Eddy’s work can be gauged from the importance of references to the Symbolist poet Verlaine (1844-1896) and particularly his 1866 collection Poems under Saturn. For example, looking at Twilight and Memory might send a viewer back to Verlaine’s luscious, suffocating poem, translated by Karl Kirchwey as “Mystical Dusk,” in which the “heavy, hot smells” of dahlia, tulip, buttercup and lily, drown the narrator’s senses, spirit and reason “in a single immense swoon, Twilight together with Memory”—an overpowering emotional experience.

Throughout Eddy’s work here, the intensity of the visual forms is heightened by simplification. In Twilight and Memory and other works, the bird-form is indicated economically by a set of graphic elements (circles, ovals, dots, hatches, straight lines), reducing it to essentials. At the same time, the surrounding space is flattened, and the background scale equalized, in Cubist fashion. Eddy explains that, whether working with pencil, ink, oil stick, or paintbrush, all of his work partakes of the same fundamental visual practice—of working out how the shapes and colors all come together in a unified whole.

In an age of COVID confinement, the image of avian liberty must be particularly welcome—see it here, for instance, among In Flight Aloft Dutchman’s Landing, or Beyond the Sea. That sense of subjective freedom, unbound by weight, comes across well in classic bird poems such as Gerald Manley Hopkins’s Windhover, or Tennyson’s Eagle. But in Eddy’s work, the soaring ecstasy is also shadowed by melancholy—whether explicitly, in The Cage that Failed You and the view of Verlaine’s death-house, or more implicitly, in the dark shadows that lurk around the edges. With poetic virtuosity, Eddy’s work, like Verlaine’s, uses the world of tangible surface and sensation to take us beyond itself, into the shadowy, elusive world of interior feeling.

- By Ben Lima

This marks Austin Eddy’s first exhibition with 12.26. Eddy was born in 1986 in Boston, MA, US, currently lives and works in Brooklyn, NY, US. He earned his BFA in Painting from the School of the Art Institute of Chicago in 2010. Recent exhibitions include Selected Poems Eva Presenhuber. New York, NY; A Place for Dreams, Berggruen Gallery, San Fransico, CA; Seeuferweg at Livie Fine Art, Zurich, CH (2021); Light Reflecting Distance at The Pit, Los Angeles, CA, US (2021); Birds At Night at Althuis Hofland Fine Arts, Amsterdam, NL (2020); Cold On The 4th Of July at Institute 193 B, New York, NY, US (2020); and The Poet And The Muse at Knust Kunz, Munich, DE (2020). In the coming year, a monograph of the artist’s practice will be published in conjunction with Knust Kunz, Munich.



Dallas
150 Manufacturing St. #205
Dallas, TX 75207
Los Angeles
3305 W Washington Blvd.
Los Angeles, CA 90018
Contact
+1 469 502 1710
 
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