Robert Therrien recontextualizes everyday images and objects by exaggerating them. His larger-than-life sculptures of tables, chairs, and dishware offer viewers an alternative perspective of these usually mundane and overlooked domestic elements. Therrien’s work simultaneously validates and absurdifies these simple objects by calling attention to their existence. In addition to enlarging items, Therrien also warps them or physically places them in a thoughtful context, commenting on the boundaries of the functionality, design, and purpose of these simple objects and images. Accompanying the inorganic images are organic ones, such as a 51 inch tall beard and a 47 inch long stork beak with bundle. Therrien has lived in Los Angeles since 1971.
Julie Schenkelberg makes installations that look like domestic earthquakes. Her monumental pieces talk to us about the collective memory we share in objects and its inevitable disintegration. As most all domestic objects have some sort of function, their ubiquity–tables, chairs, lamps, plates, etc in every home– is a sign that our experience of the life is much more communal than individual, and likewise our memories. Julie takes the objects of our experience and compiles them into globs of memory, as they are probably situated in our own brains. But, like our own memories, she shows us these objects as broken and decaying in structures that look strong and sound but are, in the grand scheme of things, utterly tenuous. Her work is physical poetry at its best.