FOR IMMEDIATE RELEASE
Larry Lytle People Like Us
Sinan Leong Revell DoppelgANGER
November 17 thru December 22, 2007
Reception: Saturday, November 17, 6 9 pm
post industrial art for the post industrial age
990 N. Hill St. #205, Los Angeles 90012-1753
(626) 319-3661, Fax (323) 225-1282
Web site, http://www.l2kontemporary.com
Gallery Hours: Thursday Saturday, 12-6pm; or by appointment
Larry Lytle has always loved toys, as most adults do, both for their nostalgic reminders of childhood and for their implications of our own childhood development. Dolls and action figures, which Lytle uses in abundance for his photographs, allow children to project their views and fantasies of adulthood through play. These simulacra of a grown-up world help children navigate the rituals and social expectations confronting them in their not so distant future. The attention to detail in their faces, their clothes and accessories, and the implied personalities given by the manufactures make them seem like some creepy automaton in an episode of the Twilight Zone or Outer Limits. We have created something that is at once a toy for play and a stand-in, at some future date, for who we want to be. I am using them in this body of work as a reflection and comment on who we are now, how we live, face our problems and resolve our conflicts.
Lytle’s work over the last 25 years has been narrative in nature and story-telling has always been his primary interest in art. Lytle uses constructed realities as opposed to capturing the moment. Photography exists more as a means to an end, allowing him the freedom to record ideas versus a record of the outside world.
Media-gurus, scientists and psychiatrists are our new spokesmen. “They” say that somewhere in the universe our exact double exists. That everything we have experienced is stored in our brain. That we have past lives we'll never know about; repressed memories we'll never recover. That what we do now affects our global and future karma. “DoppelgANGER” is a series of self-less portraits that reflect our social media landscape. They are a “family of man” update. Daily scenes which we overwhelming accept in apathetic silence as the norm. We become anaesthetized to yet another war-torn disaster, high school shootout, racially profiled police brutality or suicide bomber attack. Yet we are all connected. We are all “doppelgangers”. Revell places herself into these pictures in order to show how we are connected.