Last Friday, OHWOW on La Cienega welcomed Daniel Ashram‘s the fall, the ball, and the wall, a show that brought together a handful of Ashram’s gallery bending works of 2D and 3D (as he puts them, which are just funny ways of saying “works on paper and works of sculpture”).
The event was a minor scene, attracting very wealthy looking cool people in various shades of black leather apparel, art enthusiasts who were gobbling up Ashram’s work, and a woman who kept taking photos of the artwork with her Blackberry Playbook. Everyone was obsessed with Ashram’s sculptures, who play with the concept of work being displayed too long in a gallery, taking it to a post apocalyptic level where the gallery (well, the walls) consume the work. The OHWOW space was perfect for this, as it is crisply white and–for works that play with white walls–there was no suspension of disbelief that the walls were melting: the walls were actually melting and you could not figure out how Ashram installed the pieces. They were so seamlessly tied into the space.
Also included were his paperworks, which express common colloquialisms through subdued and urbanized landscapes. You had a “HUH,” “OKAY,” and “OOPS” all coming through fonts that were created by the lights of buildings or the buildings themselves. They definitely were the 2012 version of Wayne White’s Word Paintings. Also included was collection of soft looking balls that are arranged in almost a DNA cluster, which floated at the start of the space, slightly turning on an invisible spit.
Ashram’s work is up at OHWOW through February 16 and demands–D E M A N D S–you see it, as his work is very good, very fun, and the subject of endless conversations.