“A Cold War” includes a handful of other freestanding sculptural works made predominantly of wood and hydrocal, including unlit and Mono Hum (both 2015); the former looks, dangerously, as if it’s about to topple over onto the gallery floor, while the latter, an almost absurdly top-heavy structure, features a boulder-like object balanced on a dainty and towering frame. Carter clearly likes to manipulate material and form, both here and in his wall-mounted sculptures, like the vibrantly painted sunburst Sol and the lunar-inspired Waning (both 2015). A quartet of monoprints, reminiscent of Rorschach inkblots, round out the exhibition. Although prints, they are not in fact ink, or even paint on paper: 67P/C-G view 3 (2015), like the other three, was made partly with cement and dirt, taking the familiar, enigmatic motifs out of their expected constraints. That’s Jamison Carter for you—ambitious, bright, experimental, referential, attention-grabbing, and ultimately uncategorizable.
“A Cold War” is on view at Klowden Mann, Los Angeles, Sep. 12 – Oct. 24, 2015.