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03.25.2023 --- 05.20.2023

La Brea Gallery


Lorin Gallery is pleased to present Memory Echoes, a duo exhibition by the sculptor Andrew Orloski and painter Kyler Garrison. On view from 25th March to 20th of May, the presentation will bring together the highly conceptual sculpture works by Orloski and the mix-media, airbrush-heavy paintings by Garisson, forming a flowing conversation around temporal erosion and material memory. Orloski’s sculptures which layer the contemporary iconologywith archaic, solemn materials like stone, cast-iron and glass, will work face to face with the genre-bending paintings by Garisson, a prophet artist of the new syntax for digital images, to resituate memory in the middle ground of ephemeral and permanence.

Born in 1986 in West Palm Beach, Florida,Andrew Orloski grew up in Pennsylvania andcurrently has his studio in Fresno, California.He holds an MFA in Studio Art from TheSchool of Art Institute Chicago (SAIC) and aBFA in Sculpture from Millersville University,Pennsylvania. Orloski works with industrialmaterials like metal, glass, and concrete, andby transforming temporal objects intosculptures with a temporal weight, hesearches to challenge the consumer-basedassumption about disposability.


Orloski’s sculptural practice of the past four years challenges the rigid, seamless pairing between materials and objects. Through a sculptural process of molding materials into the unexpected, unmatching forms of daily objects, and via recomposing disposable things with enduring materials, Orloski casts an existential inquiry into material, substance, and the objective form. Oftentimes, his work bends materials into self-contradiction and self-reflection. At the center of each sculptural work, there is an aesthetic tension between the physical properties of used material and the aesthetic tendency, the contextual and utilitarian expectation associated with an object.

Orloski’s practice treats the objects symbolic of the 20th century as a mutual vessel for memorizing in which individuals store their respective memory in hedged but connected cocoons. By separating the objects from materials they are usually seen in and remolding them with materials that are raw, archaic and heavy, with industrial materials that have proven to stand the test of time, Orloski attempts at an effect reverse to what we usually seen in art: he trades present to history, immediacy for remoteness. In the deep gorge carved by the discrepancy between material and objects, there resonates a fossilized memory of everyday life.


Orloski’s conceptualization of his sculptures is also heavily imbued with literal and linguistic metaphors. Language, in this regard, is a beautifully apt metaphor he employs to summarize his understanding of materials.  

Language has its own reservoir of vocabularies which gives birth to all the ifinity and infinity; and language also has its time, its history which in turn modifies its meaning and poetics. It is in this sense that Orloski reads the language of materials and tries to evoke historical, anthropological, and archaeological lineage of a material in his sculptures. 

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Kyler Garrison was born in 2001, North  Colorado and is currently based in Brooklyn,  New York. Largely influenced by cartoon,  street art and graffiti in the inner city setting  of Denver, Garrison’s work reflects the irony,  the playfulness and the tension of his visual  inspiration which has later found way into his  mature paintings as an archetypal iconology.  Gauzy, blurry and hazy, Garisson’s works  imitate the preliminary stage in the  formation and downloading of an image  when the pixel details are still invisible and  merely the approximate shapes are shown.  Image captures a moment, and Garisson’s  image captures a moment within a moment,  a critical, perilous moment that haunts his  viewers with an anxiety of limbo.

Sharing the space with Orloski’s sculptures of materialized memory,  Garisson’s paintings which investigate the versatile forms of  remembering in a completely digital age will bring the discussion to a  non-materialized realm. Born at the inception of millennials, Garisson  belongs to a generation whose ontology and experience, ways of  memorizing and recording are significantly different from the artists  before him. Technologically mimicking the visual features of digital  image and digital re-touching, Garisson aims at delineating a  representation of the scattered, fragmented, blurred and distorted  form of memory under the influence of digital intrusion.

Text credit: Luxi He

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