Sometimes artworks involve months (if not years) of experimentation and decision-making to arrive at a desired result. And sometimes a simple moment of chance transforms an artistic project into something new and unexpected. There are potential perils in each instance, of course. Can a deliberate artwork be fresh? Can a spontaneous action avoid superficiality?
On the right side of the gallery is The California Surface, Seal’s show of four sculptural works curated by Zoë Taleporos. Using a mixture of readymade objects and custom fabrications, Seal coats and casts utilitarian items in sizzling color. While Southern California artists of the Light and Space movement used industrial techniques and materials to create their minimalist sculptures, Seal playfully returns those methods to addressing everyday objects, like a surfboard or rubber tire.
Her Alien Swimming Pool, a strangely-shaped cast iron pool powder coated in hot pink and metallic pea-green paint, sits on a grid of tiled stone. Tincture of Rainbow is a wall of soap dispensers, their contents tinted -- you guessed it -- with a veritable rainbow of hues. Each object is rendered more beautiful and more useless as it passes through Seal’s (or her various fabricators’) hands, making familiar shapes otherworldly forms.
Down the steps to the left side of the gallery, Rosenberg’s Where Once There Was None (curated by Rhiannon Evans MacFadyen) is an arrangement of four framed works and a small tableau of a table, chair, notebook and bottle. The simplicity of the installation belies its complexity: these elements are the aftermath of a 50-day performance executed earlier this year at Irving Street Projects, a residency space in the Outer Sunset neighborhood of San Francisco.