Doty Glasco

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    4 Seconds, 2015, Archival pigment print on silk, poplar, acrylic medium, Dimensions variable
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    11:19:21, 2015, Archival pigment print on silk, poplar, acrylic paint, 135 x 91 cm / 53 x 36 in
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    The White Place, 2015, Archival pigment print on silk, poplar, acrylic paint, 135 x 91 cm / 53 x 36 in
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    Cathedral Escalante, 2015, Archival pigment print on silk, pine, 66 x 51 cm / 26 x 20 in
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    Desert Tides, 2015, Hand-abraded archival pigment print, graphite, 152 x 114 cm / 60 x 45 in
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    My Name In Valleys, 2015, Mounted hand-abraded archival pigment print, graphite, 104 x 76 cm / 41 x 3 in
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    Lost Rivers, 2015, Hand-abraded archival pigment print, graphite, walnut and rhyolite, 104 x 76 x 65 cm / 41 x 30 x 25 in
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    Crevices of Time, 2015, Hand-abraded archival pigment print, graphite 76 x 51 cm / 30 x 20 in
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    Heliotrope Wave, 2015, Hand-abraded archival pigment print, graphite, 76 x 51cm / 30 x 20 in
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Time Always Finds You / Future Lands

January 31 – March 14, 2015

View Available Work

Artsy Editorial

CES Gallery is pleased to present the first Los Angeles solo exhibition of collaborative duo JR Doty and Joe Glasco, known as Doty Glasco. The two artists have been working individually for over ten years and began working together in 2013, developing their studio practice as a team. For this exhibition, they have created bodies of work that explore the passage of time as a means to revisit nature in a contemporary framework for the sublime. 

The duo’s work utilizes an archive of 40,000 images made on the road over the last year. The images were taken in specific geographic locations such as Utah and the California Coast, because of their unique geological conditions. The images represent the essence of nature with an emphasis on the phenomena of time as it affects the landscape’s topography, such as rippling water, striations of marble and the constant changing of landforms. Photography plays an active role as the visual archive while the materials used serve to mirror the landscape’s natural movement through cycles of erosion and transformation. Each body of work focuses on abstractions of time using specific materials to create newly formed topography. By establishing a relationship between perception and materiality, the objects they create become material constructions of their perceptual responses to the land.

In Doty Glasco’s practice, the works freeze the duality of accumulation and severance, making the power and fragility of the landscape and human’s relationship to it incomparably evident.