Robert Larson

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  • CES_Gallery_Robert_Larson_Black_Collars
    Black Collars, 2015, Discarded cigarette packaging on linen, 155 × 110 cm / 61 × 43 in
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  • CES_Gallery_Robert_Larson_Red_Honey
    Red Honey, 2015, Discarded cigarette packaging on linen, 156 × 108 cm / 61.5 × 42.5 in
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  • CES_Gallery_Robert_Larson_White_Collars
    White Collars, 2015, Discarded cigarette packaging on linen, 155 × 110 cm / 61 × 43 in
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  • CES_Gallery_Robert_Larson_Gold_Rectangle
    Gold Rectangle, 2015, Discarded tobacco foil on canvas 108 x 72 cm / 42.75 x 28.5 in
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  • CES_Gallery_Robert_Larson_Honeycomb
    Honeycomb, 2015, Discarded cigarette packaging on canvas, 156 × 103 cm / 61.5 × 40.5 in
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  • CES_Gallery_Robert_Larson_Gold_Traverse
    Gold Traverse, 2014, Discarded cigarette packaging on canvas, 26 × 34 cm / 10.25 × 13.5 in
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  • CES_Gallery_Robert_Larson_Argentum
    Argentum, 2014, Discarded tabacco foils on linen 193 × 244 cm / 76 × 96 in
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  • CES_Gallery_Robert_Larson_Pryamid_Stripes
    Pyramid Stripes, 2015, Discarded cigarette packaging on canvas, 19 × 23.5 cm / 7.5 × 9.25 in
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  • CES_Gallery_Robert_Larson_Interchange
    Interchange, 2015, Discarded cigarette packaging on canvas, 156 × 103.5 cm / 61.5 × 40.75 in
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Processing Commitment

September 19 – October 31, 2015

View Available Works

Artsy Editorial

CES Gallery is pleased to present Processing Commitment, the first solo exhibition of Santa Cruz based Robert Larson’s large-scale assemblage/collage panels of discarded cigarette packages which he gathers during urban excursions. Larson walks miles and miles of streets to gather found materials, a practice he has maintained for over twenty years—a journey of epic proportions, resulting in works of iconic and poetic significance.

Larson’s interdisciplinary practice embraces immersive, experiential relationships with material and landscape coupled with studio production. Larson equates the act of moving the body through the landscape and the act of bending to pick things up as a kind of in-situ action painting. The gestures of walking, seeking, finding, bending, picking up, toting, transporting, gathering, sorting, placing, cutting, arranging, and affixing are repeated for hours, days and weeks on end, akin to ritualistic dedication.

In his studio, the gathered objects are sorted by category and brands into large stockpiles of content, which originally was worthless trash that now gains power in its excess and archive. The once pristine cigarette packaging take on their own personality and historical record by being discarded, stepped on, crumpled or torn; this history of the objects is embedded in Larson’s works. The items that Larson collects are often gleaned from impoverished or industrial neighborhoods, emphasizing concepts of toil and labor for the sake of small pleasures, albeit potentially deadly ones. The result is richly textured, visually meticulous and venerable works that hint at sacred geometry, further emphasizing the vicious yet bittersweet cycle where commodification meets addiction.

Larson’s scavenging, gathering and re-appropriating process is true to the found object aesthetic, following in the path of historical predecessors such as Ed Kienholz, Kurt Schwitters, and Robert Rauschenberg. His approach to art-making remarks upon socio-political concerns, as well as psychogeography and searching for the American Dream. Similar to Mark Bradford, Larson’s dedication to material becomes a mapping of experience that reconfigures geography as objects of memory, hope and desire.

Larson is the recipient of the Rydell Visual Arts Fellowship and received the Tom Allen painting Scholarship. While exhibiting at Volta NY 2014, Larson was named one of 13 artists to watch by Arts Observer and was also featured in reviews of the fair by Hyperallergic and Droste Effect. He has also been featured in Beautiful Decay, Design Milk and Wall Street International. Larson has shown regularly at the SF MoMA artist’s gallery and the Tannery Art Center in Santa Cruz.