His statement followed a series of defensive speeches from members of the Court’s conservative wing, which now holds a super-majority of 6–3. “The Judiciary’s power to manage its internal affairs insulates courts from inappropriate political influence,” he wrote.
Roberts’s report, however, defiantly warned everyone to back off. President Joe Biden recently established a bipartisan commission to consider reforms to the Court, and members of Congress have introduced legislation that would require Justices to adhere to the same types of ethics standards as other judges. According to a recent Gallup poll, the Supreme Court has its lowest public-approval rating in history-in part because it is viewed as being overly politicized. Jennifer Guidi's " In The Heart of the Sun" is on view from November 5 to Decemat the David Kordansky Gallery in Los Angeles.In December, Chief Justice John Roberts released his year-end report on the federal judiciary. For me, it’s such an important part for someone to stand with my work and see what’s happening.” It’s really about standing in front of the paintings and the optical effect that you get with each detail. “In this show, there’s more of a joyful quality as the works become more complex. I want them to feel that there are greater things than ourselves,” Guidi says. When I create work now, I think about wanting people to feel good. “There was so much hardship we were watching everyone go through as a collection, it made me want to make work that’s more joyful to give something back. But as the world emerges into the post-pandemic reality, she hopes her art sparks unadulterated joy, as she grasps the significance of in-person experience of her particular craft. The patterned cadence of her paintings conjures a tangible mysticism. “Sand struck me very much as a more granular paint pigment.” Twelve years later, “In the Heart of the Sun” finds an increasing inflection to Guidi’s luminous voice-layers upon layers of sand and paint wash ground mosaics of pointillist alliteration.įor Guidi, her meditation practice has long pervaded her artistic one. “Anytime I’ve seen work that had sand in it-old Picassos or a Kandinsky or Alberto Burri, even if it was just a sprinkling in one little section-I’ve always been interested,” she says. In 2010, Guidi began mixing sand with oil paint, applied to flat canvas for a textured ground. A California-naitve, born in Redondo beach, with an MFA from the School of the Art Institute of Chicago, the artist cites LA’s Mid-century architecture and blanched light as early aesthetic influences. Rest assured: her anticipated exhibit brings major new sand mandala paintings, including rainbowed compositions of the artist’s signature technique in all its splendor-Guidi is a hypnotic, virtuoso colorist. Indeed, few artists ever achieve as clear a visual vernacular as Guidi, whose oeuvre is synonymous with sand strata, repetitive thumb divots, and the spiritual symbol of the mandala. To me, sculpture and painting feel like the same world.” Now, I carve them and add my sand mandala because I want to make my mark and transmit that energy. Then, over the last year, I started experimenting with bronze as a material, and finally I put it all together. “At first, I was thinking about how the rocks and small sculptures related to some of the mountain paintings I’ve made. “It was a quieter time, and I created a rock garden in my studio,” she reflects.
The idea is that the stones keep evil spirits out and good energy within the walls of the compound.” Back in LA, Guidi began fashioning small objects from clay- playing around, by her measure-though, Covid-19 lockdown ultimately propelled her forward. “In some cases, there are massive rocks when you walk in. “I became drawn to the very large stones placed in temples,” she tells Cultured. She recalls finding unexpected inspiration on a detour to Shanghai. In fact, Guidi has been mulling over this step since 2018, when she visited Hong Kong for her Gagosian debut.
The new works-painted bronze crystalline, meteorite and coral polyp creations-may feel like a departure from the chromatic energy-field paintings that have fueled a clamor among critics and collectors. “I consider them rock sculptures,” says Jennifer Guidi of her latest solo exhibition “In the Heart of the Sun,” which opens tonight, at David Kordansky Gallery in Los Angeles, where she resides. Photography by Jeff McLane courtesy of David Kordansky Gallery.
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