divineGLUTT NYj o n g o m e z — k a y l a n g e o r g e

G L U T T O N Y

An unpardonable sin entailing a total loss of grace. A required language credit when I attended Cornell University

was reading Dante’s Inferno in its original tongue of Italian. The paradox of the legato of the Italian language and

the profound horrors of the world that Virgil leads the pilgrim through is the seemingly insurmountable chal-

lenge that Kaylan George and Jon Gomez have undertaken; maintaining grace under fire of gluttonous subject

matter. They are in esteemed company with the likes of John Altoon, Mike Kelley and Paul McCarthy, all who

have been purged out the rectal cavity at the other end, grace intact, thus ingesting the underlying sin itself.

K A Y L A N G E O R G E

A banquet table: 25’ long, filled with a smorgasbord of childhood neglect, rejection, bestial mutilation, gar-

nished with obsessive self-reflection and heaping portions of angst. Surprisingly absent from the feast; the

belch of self-indulgence. / This 25’ journey coaxed along by tentacles, donned with prophylactic gloves, ink

black, inflated with neglect. / Sterile white spaces—playgrounds for the chef or the diner? / Constipated bowels

compacted with heroic detail. / Vermin being masticated in to hamburger meat spat out by the mark making

that gave them life. / The grotesque and the pristine encased in perfect symmetry, Minimalism unravels her

intestines. / Disharmonious systems, life, art, tango to an earth scorching rhythm.

J O N G O M E ZSHYLOCK: “The pound of flesh which I demand of him is dearly bought, ‘tis mine, and I will have it.” (William

Shakespeare, Merchant of Venice) / Gomez has given quite a bit more than a pound of his flesh, molded with

charcoal, oozing from plus size frames, borders between bodies all but obscured. / Draftsman as sculptor. Coal

dust as clay. / The corpulence is massaged on to surface, unctuous, even with the dryness of the medium. /

Fetishistic in the pleasures that are derived from extracting impossible detail. The artist, emaciated from the

transfer of life from the real to the visual, a leather carcass, road kill on a desert road. / Traditional beauty and

symmetry are repugnant, stale and lifeless. / Undulating flesh is where it’s at. Taught perfection, blasphemy. /

The artist very much biting off more than he can chew and there is no waste in this depraved landscape. 03

04

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08

10

kayl an george

14

21

23

25

jon gomez

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30

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36

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43

45

46

48

50

14. Crematorium, 2011-12

Ink on Paper

inches

28. Untitled, 2011

Ballpoint on canvas

62 x 60 inches

29. Self Portrait, 2011

Ballpoint on canvas

66 x 46 inches

34. Vessel 3, 2011

Charcoal on wood door

80 x 36 inches

34. Vessel 1, 2011

Charcoal on wood door

80 x 36 inches

35. Vessel 2, 2011

Charcoal on wood door

80 x 36 in.

35. Vessel 4, 2011

80 x 36 inches

Charcoal on wood door

40. Hands 2, 2012

Graphite on paper

14x 17 inches

40. Hands 1, 2012

Graphite on paper

14 x 17 inches

44. Feet 1, 2012

Graphite on paper

14 x 17 inches

44. Feet 2, 2012

Graphite on paper

14x 17 inches

34. Post-Mortem 3, 2010

Graphite on paper

mounted on refurbished mat

36 x 28 inches

48. Post-Mortem, 2010

Graphite on paper,

mounted on refurbished mat

36x 28 inches

49. Post-Mortem 2, 2010

Graphite on paper

mounted on refurbished mat

36 x 28 inches

INDEX

J O N

G O M E Z

K A Y L A N

G E O R G E

2685 South La Cienega Blvd.

Los Angeles, CA 90034

gallery@nyeplusbrown.com

310 559 5215

nyeplusbrown.com

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In conjunction with

Jon Gomez and Kaylan George:

Divine Gluttony

September 13, 2012

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Designed by Kyle LaMar

& Kaylan George

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Music by

Dmitri Shostakovich -

Waltz No. 2