frumkin/duval gallery presents a summer group show featuring large-scale works by artists from Los Angeles, Texas and New York. The exhibition includes work in a variety of media that explores the spatial relationships of enlarged scale and it’s references to architecture, landscape, portraiture and contemporary design. These artists combine aspects of romanticism, minimalism and pop art in distinct ways resulting in works that are unmistakably contemporary. Also included are preliminary drawings, sketches and outtakes documenting the processes from which the work was derived.

Los Angeles based artist Kelly Barrie’s photographs resemble images of deep space and starry night skies. Barrie photographs himself in the act of spitting towards the camera, forming shapes that range from expansive constellations to articulated masses. In doing so he explores alternate methods of self- portraiture by exposing the body’s viscous interior to intense bursts of light.

At first glance Martin Durazo’s mixed media installations and sculptures seem quite chaotic. Ultimately, these mass conglomerates of store bought products and everyday objects resolve themselves achieving a refinement that combines popular design with a modern sense of arrangement that can be almost minimal in it’s aesthetic value.

Texas artist Emily Joyce’s "wall paintings" appear to be composed of purely abstract colors and shapes. On closer inspection they reveal themselves as adhesive vinyl cut-outs attached directly to the gallery wall. Joyce commandeers these "cute" prefabricated craft stencils (originally intended to decorate letters, photographs and the like) into the service of "high" art. In one dynamic installation a riot of various shapes begins on the wall and extends out to the gallery floor. Joyce will also be exhibiting a series of acrylic paintings on Plexiglas.

After having worked in miniature scale for several years, New York artist Matt King has produced a series of large-scale sculptures made primarily of metal conduit and webbing that appear to be incomplete, manipulated or mis-assembled lawn chairs, referencing the progression and decay of urban landscapes. Like three-dimensional drawings, the sculptures’ gently curved lines undulate as one moves around them. Handmade plaster casts delicately hug the joints where the metal conduit fits together. This combination of organic and mass produced elements is echoed in barely audible drones he created from natural and digital noises that emanate from some of the sculptures.

Ruby Osorio’s sexually charged drawings involving women, girls and occasionally men are set in fantastical narratives that are at once romantic, humorous, uncomfortable and perverse. The delicacy of the paper, gouache and thread is reflected in her minimal approach to the compositions and the vulnerable nature of her subjects. For this exhibition Osorio extends this idea of vulnerability by working to the very edge of the paper which she has cut into rounded and oval shapes overlaid against each other in cascading scenes that flutter down the gallery walls.

Audra Weaser’s subtle sculptures are made by delicately carving the surface of poured hydrocal slabs that inset into the existing walls of the gallery. This new series moves away from references to the body and figure. Instead, shallow indentations are repeated rhythmically across the surface recalling natural patterns formed by waves, sand dunes and weathered surfaces. The minimal carvings combine with the pure whiteness of the hydrocal creating a quiet yet highly sensual surface.

This exhibition is curated by Sherin Guirguis, associate director of the gallery. Guirguis is a Los Angeles based artist.