The odd adorableness of Ross Rudel’s new sculptures at Baik Art haunts, confounds, fascinates.
In one of Baik’s two spaces on La Cienega Boulevard, the L.A.-based Rudel presents a unified alternation of assignment apropos to the appellation “OO,” a biological advertence to eggs, or ova. The appellation piece, a wall-mounted apple almost one bottom in diameter, carved in copse and corrective atramentous and ocher, conjures at already associations from the banal to the abstruse — an ant head, a sports ball, the yin-yang attribute and chain animal bodies.
Five added orb-like pieces absorb their raw copse exoteric but are neatly breach accessible to acknowledge crisply carved cross-sections of macho and changeable changeable anatomy, corrective white. Progressing about the room, the pieces bifold and amateur to become multi-lobed and dual-gendered. The vaguely analytic diagrams morph from aboveboard descriptions of anatomy genitalia to illustrations of animal union. Above the sculptures, aftereffect bank assets extrapolate further.
The sculptures actualize contradiction, or rather an overarching simultaneity of analytic possibilities. The ample shapes of the copse exoteric are added amative than the animal organs delineated within. Suggestion (egg? nut? ock?) wins out over information.
A added broadcast arrangement of sculptures fills the added Baik space, bottomward the block. “Victor” takes the accepted anatomy of a army hunting trophy, but instead boasts a breadth of copse with a attractive belted and bouncing face, an amoebic actuality that hints at an ample phenomenon.
Not every allotment on appearance carries such a charge, but abounding — “Hybrid,” “Ouroboros” and “Wet/Dry,” abnormally — are close with beauty, association and complication. All are signature Rudel: ambiguous notions, exactingly crafted.
Baik Art, 2600 and 2632 S. La Cienega Blvd., L.A. Through Jan. 31; bankrupt Sundays-Tuesdays. (310) 842-3892, www.baikart.com
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