Monthly Archives: October 2013

Groundspace Project is honored to have its first exhibition review written by the esteemed art historian and critic Betty Ann Brown and published in ArtWeek LA.  Entitled, “TRIPTYCH for October” Ms. Brown’s essay is a brilliant discussion of three “astonishing painting exhibitions’ currently on view in the Los Angeles area, comparing each exhibition to one of the three panels of Hieronymous Bosch’s Garden of Earthly Delights (1504), including Alex Kritselis: “Imperial Eden/After the Dissent”.

Below are excerpts from the essay with images of paintings included in the exhibition:

References to words and texts evoke the writings of contemporary critical theorists, especially the semioticians, who deconstruct cultural products into constituent symbolic elements in order to analyze meaning. One of the godfathers of semiotics (the study of signs) is Umberto Eco, who is popularly known for his fiction, including especially The Name of the Rose, a murder mystery set in a medieval monastery. In the 1984 film version, Sean Connery plays the monk William of Baskerville, who follows some very literary clues to uncover the killer.03kritselis_sm

… ​Kritselis titled the exhibition Imperial Eden/After the Dissent, with deliberate reference to world affairs and, especially, the political/economic quagmire of his home country Greece. Perhaps the most overt allusion is seenin the 84-panel silver grid that moves across one wall and rounds a corner to continue on another surface. A thick black line describes a war ship, its guns and turrets pointing right to left, which means toward the viewer as she enters the gallery space. The ship does not appe07kritselis_smar to be super high tech. Indeed, it is old…which makes me think of retired weaponry, the shipyards of detritus that line the coasts of ancient foes.

…​ Another cluster of panels presents the historic hero, St. George, on horseback, as he reaches down to spear a dragon. The image is created in glaring reds, yellows, and blues, so it is deliberately artificial in tone. And across it, written on metal sheets that are bolted to the painted panels, is the word REDACTED. Viewers have to ask, What is redacted? The saint? His ancient foe, the dragon? Or 05kritselis_smperhaps the idea of doing battle with an ancient foe?

​Not all of Kritselis’s panels are figurative. One tall vertical piece is assembled from dozens of yellow panels piled into a pillar and crossed with lines of ted and black. Is it a computer reference? Networks? Are these red and black wires across an electrical device? Or is this, too, about conflict and violence?

To read the whole essay follow this link to


Opening Reception: Saturday, November 16, 6:00 to 9:00 pm
Exhibition Dates: November 26 – December 7, 2013

Groundspace Project is very pleased to present The Hunt in the South: A Venture Unsolicited, an installation by Pam Strugar and April Durham.  Please join us for the Opening Reception Saturday, November 16 from 6:00 to 9:00 pm.

Artists’ Statement:hunt-text-october18


Opening Reception: Saturday, October 5, 6:00 to 9:00 pm
Exhibition Dates: October 5 – November 2, 2013

Groundspace Project is very pleased to present the solo exhibition ALEX KRITSELIS: Imperial Eden/After the Dissent.  Please join us for the Opening Reception Saturday, October 5 from 6:00 to 9:00 pm.

Artist’s Statement:
Imperial Eden/After the Dissent is about the willingness to risk everything for the right of self-determination. This exhibition is composed of small painted panels, or fragments, which are configured into a large-scale installation. In these paintings I explore the perpetual friction of values and the behavioral patterns they generate. The show highlights that the desire for knowledge can’t be constrained. The expulsion from Eden remains in effect.

Three years ago I began painting on small wood panels, searching for new ways to develop my images. The panels’ hard surface allowed me to expand the range of technical interventions and opened the process to new explorations of color and texture. Fragmentation was adopted as a compositional device and the grid became the framework that holds the parts together. Eventually larger groupings were created and narratives sprang into place that allowed me to organize and express my ideas. While the paintings are under constant consideration, retaining their flexibility, and adapting to new spaces, they are also operating as a metaphor of how information travels, and an expression of our ability to create meaning out of fragments.

Groundspace Project is an alternative exhibition space located in downtown Los Angeles.
Gallery hours are Friday and Saturday, 1 to 6 pm or for an appointment call 310 614-3351.
Groundspace Project, 1427 E. 4th St. #4, Los Angeles, CA 90033