When you drive east from the coast, Los Angeles reads like timeline. It starts with 1950s beach shacks, which turn into 1960s ranches and 1970s mansions. Moving towards the desert, one finds themselves on the shiny outskirts of an ever-expanding universe. A city diffused across an infinite horizontal plane, L.A. is best understood from those cinematic vantage points where one can observe the invisible parallels of the map encroaching further and further into natural landscape.
This synthesis between predestined and spontaneous is the preoccupation of Aaron Garber-Maikovska. His work teases out the possibilities of self-expression when operating within the boundaries of a given system. In his videos, these ideas manifest themselves as somatic improvisation; Garber-Maikovska performs impulsive motions confined by the edges of a steady frame.
For his second exhibition at C L E A R I N G New York, Garber-Maikovska’s explorations of the body and the rules that bind them, become conflated with the conventions of painting. The show is comprised of 5 by 10 ft Gator Boards, which Garber-Maikovska works on the floor with pastels. Only impinged by the scale of the canvases, Garber-Maikovska’s abstract angles, curves and straightaways exist in a world unto themselves--each line another vapor trail to follow.
Trying to find faces, signs, clarity in the mist, one finds pareidolia gives way to meditation. As in quantum mechanics, Garber-Maikovska’s marks are not fixed but can only be understood in their relationship to one another. They vibrate. Energy is transferred and turned on its head. Spiraling outwards from the molecular to the cosmic, Garber-Maikovska’s recurrent images bring awareness to the potential we have to change.
C L E A R I N G, January 12 - February 26