Josh Sperling creates colorful, shaped canvases that walk the line between painting, sculpture, and design.

Result #1

Josh Sperling creates colorful, shaped canvases that walk the line between painting, sculpture, and design. The artist uses simple, common materials such as paper, cardboard, wire, string, and paper. He builds up layers of painted and cut surfaces, or of painted surfaces and wood, or of painted surfaces and paper, and then paints them in layers. The result is a series of complex, diverse, and often contradictory surfaces. The delicate lines of lines that emerge from the painted surfaces form a kind of abstract line, a line that can be read as the ground of the paintings. In the series of paintings that were shown in the gallery, the lines of lines also form lines of color, and they form a regular, geometric, and very complex line. These paintings suggest the history of abstraction, and they show that abstract painting has been played with lines as much as with paint. The lines are not painted on the canvas, but on the surface of the paper. They are not painted as line, but on the surface of the paper. These paintings are certainly a challenge to the current painting paradigm.Sperlings work is simultaneously very delicate and very refined. He has a skill that allows him to create a delicate balance between the material and the immaterial. He knows how to balance the two and yet keep them in equilibrium. He does not give us a feeling of complete freedom. He does not make us feel as if we are free to move around the paintings. He does not make us feel as if we are free to paint. He does not make us feel that we are free to construct any kind of relationship between the painting surface and the painted surface. He does not make us feel as if we are free to move from one state to another, from one state to another. He does not make us feel as if we are free to paint. He does not make us feel that we are free to create a relationship between the two. He does not make us feel as if we are free to create a relationship between the two.

Result #2

Josh Sperling creates colorful, shaped canvases that walk the line between painting, sculpture, and design. These are not so much abstract paintings as small, fuzzy-edged, hand-painted miniature views of a city. In one, we see a windmill from a distant hilltop, a slender, tree-trunk-like structure with a round glass structure at the top. A central panel features a red, white, and blue sunburst, which is broken into two smaller panels, which are arranged as if they were the back of a toy poodle. The entire piece is covered with a layer of yellow tape. A small yellow sunburst, a vertical red panel, and a four-foot-long strip of red tape cover the top of a four-foot-high red panel. A stack of four other panels is arranged in a line, forming a circle and the circle is broken into a series of five smaller panels, the colors of which are varied from deep red to blue. The only bright color is a small, bright orange.Sperlings work is at once playful and reflective, playful with the viewer, and reflective with the artist. The playful aspect of it is particularly apparent in his large-scale, fluorescent-lit, colored-glass work. Here, the light is bright, but it is a bright light, so that the whole effect is of a grayish glow. A series of seven large, red panels, arranged in a line, includes three of a circle, a smaller one, and a smaller one. The circle and the smaller one are broken into two smaller panels, which are stacked like a row of stacked books. The smaller one is broken into four smaller panels, which form a square with a smaller one on top. The smaller one is broken into four smaller panels, which form a square with a larger one on top. The smaller one is broken into three smaller panels, which form a square with a larger one on top. The smaller one is broken into two smaller panels, which form a square with a larger one on top.

Result #3

Josh Sperling creates colorful, shaped canvases that walk the line between painting, sculpture, and design. His color-saturated paintings are all the more striking when one considers that they are made from the same materials as his painting. The result is a unique blend of the different qualities of all the media.Sperlings recent show consisted of three paintings. The third, Untitled, was a group of six similar black-and-white paintings, each about the size of a standard canvas and painted a light, matte white. The six paintings are arranged in a diagonal row. The most successful of the six is a small untitled canvas, in which Sperling has combined a high degree of design with a sense of order. He is able to create a sense of pictorial and spatial depth and, of course, a sense of volume. The other two paintings are more successful, and are the most mature, because the colors are more intense. The final painting, a much larger one, is a very ambitious, complex work, and the result is a tremendous achievement. The colors are rich, the shapes are diverse, and the surface is a very attractive, light-filled surface.Sperlings new paintings are very varied and multifaceted. The paintings are all acrylic on canvas, with a thin, gessoed surface. The acrylic is applied to the canvas in thick, broad strokes, sometimes leaving a thin layer of gesso on the paint. The strokes are used to create a texture of varying density, from the dense to the light and airy. The shapes are also varied in that the shapes are often repeated in multiple positions, sometimes to create a sense of space and movement. The color is applied in a thin, hard, dry, light, thin coat which is applied in several layers of color, sometimes incorporating layers of gesso. The paint is applied in a thin, bright, dry, and dry-wet brush strokes, sometimes as richly as in the larger paintings.

Result #4

Josh Sperling creates colorful, shaped canvases that walk the line between painting, sculpture, and design. Sperling is a longtime member of the Los Angeles-based group Ive Gone Left Behind, and her paintings, often involving a color grid, are rooted in an organic, minimalist vocabulary of lines, lines, and stripes. In the works in this show, Sperling deploys a variety of colors and textures to create a triad of interlocking elements that have a certain immediacy, and a certain sense of time. Some of these pieces are made of painted aluminum or steel, and in the works that were shown here, the aluminum is often painted a deep magenta. The gridlike arrangement of the grids can be seen as a self-reflexive statement on the relationship between the painter and the material he or she works with. In the works that are hung on the walls, however, the grids are always made of painted aluminum, and the aluminum is always applied with a cloth-like, sullen patina.The paintings in this show are dominated by three-dimensional sections of aluminum painted with a black, blue, or gray enamel. These sections are made of variously colored, stretched, and rolled layers of aluminum, so that they are most often made of aluminum that has been painted a dark gray, and occasionally painted a color other than aluminum. The aluminum sections are then painted with a spray paint that has a heavy, metallic sheen to it. The layers of aluminum, so carefully applied, are almost as disturbing as the paint. The aluminum sections, painted, are also meticulously applied, but it is the edges that are so disturbing. They are the edges of the aluminum sections that are most revealing, and they are the areas that are most difficult to grasp. The aluminum sections are also made of aluminum, which gives them a kind of stubborn, if not nearly fatal, permanence.

Result #5

Josh Sperling creates colorful, shaped canvases that walk the line between painting, sculpture, and design. His subject matter ranges from ordinary life to the fantastical, from a house to a spaceship, from a family portrait to an out-of-control plane. Sperlings paintings are full of detail and are meticulously constructed. He uses a variety of the most common materials, including wood, canvas, paper, and cardboard. A number of his canvases are hung on the wall, which gives them a three-dimensional quality, as if they were paintings on the wall. They have a flat, monochromatic appearance, and they are often made up of a series of overlapping, overlapping, overlapping, overlapping, and overlapping, in a kind of painterly sprawl.Sperlings subjects are often familiar from popular culture, and his paintings have been compared to those of other artists, such as Frank Lobdell, Richard Diebenkorn, and Michael Craig-Martin. However, unlike most of these artists, Sperling hasnt taken any of their work as a starting point; he has just taken it further. He has created an entire world from the most mundane of materials. His canvases are filled with imagery that is as unsympathetic to our expectations as they are to the reality of the world. His subjects are so ubiquitous that they are often unrecognizable, or at least recognizable. Theres a feeling of familiarity to Sperlings subjects that is sometimes unsettling, but its not necessarily an esthetic quality.Sperlings paintings are not really paintings, but they are not paintings in the usual sense either. They are not paintings in the usual sense either; they are not paintings in the usual sense either; they are not paintings in the usual sense either; they are not paintings in the usual sense either; and they are not paintings in the usual sense either. They are not paintings in the usual sense either. Sperlings canvases are not paintings in the usual sense either.