18th October - 22nd November 2014
I met a traveller from an antique land
Who said: “Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed;
And on the pedestal these words appear:
‘My name is Ozymandias, King of Kings;
Look on my works, ye Mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.”
Percy Bysshe Shelley, Ozymandias, 1817
Ellis King Is Delighted To Present Kour Pour’s Ozymandias: The Artist’s First Solo Exhibition At The Gallery And Also In Europe.
Pour’s Practice Is Embedded In The Interrogation And Re-Examination Of Archaic Antiquity In The Modern Information Age Of Digital Culture And Technology. For Ozymandias, Pour Has Identified And Sourced Imagery And Iconography From Various Virtual Platforms Including Clip Art And Vector Images Which Are Digitally Manipulated To Form The Visceral Construct Of His Compositions.
Contrastingly, Ancient Methods Are Steeped In The Artist’s Practice And Modus Operandi. For The Paintings In Ozymandias, Pour Utilises The Age-Old Process Of Woodblock Printing. His Woodblocks Are Hand- Carved Over Several Months And Printed On Linen Where Water Soluble Inks Are Transferred To The Linen Substrate Through Applying Pressure With A Baren.
In His Central Floor Sculpture Entitled, The Lone And Level Sands Stretch Far Away, 2014, Clay Tablets Are Imprinted From The Original Woodblock Carvings. These Tablets Are Then Used As A Mold To Form Another Counter-Point Within The Perpetual Cycle. Here, Hot Bees Wax Is Poured Into The Clay Mold To Form A Cast Wax Relic, Which Is Then Used In The Lost Wax Casting Process To Produce The Aluminum Relief Works.
Pour’s Employed Methodologies In Ozymandias Is Retrospective Acknowledgment Of Some Of The Earliest Forms Of Mass Production And The Significance In Their Function For The Dissemination Of Ideas And The Recording Of Information. From A Polarizing Contemporary Standpoint, Pour Accumulates His Source Material From The Internet And Other Digital Provenance As Fundamentally Consumerist Information Of The Present.
Equally, His Chosen Imagery Is Drawn From A History And Location. In Ozymandias, Pour Uses Iconography Derived From Ancient Mesopotamian, Greek, And Oriental Heritage, To Name But A Few. Thus The Arbitration Of Time And Place Comes To A Halt. Allegories Of Time Are Misplaced And Indefinitely Repositioned According To The Artist’s Hand. Within This Cyclic Framework, Pour Opens Dialogue Towards New Narratives And Perspectives Blending Archaic Art Forms And Imagery In A Futurist Age Thus Flattening The Presence Of Time And Culture For Both Personal Yield And Universal Inquiry.
Kour Pour (B. 1987, United Kingdom) Was Born In Exeter, United Kingdom Of Iranian Decent And Currently Lives And Works Los Angeles, USA. He Graduated From Otis College Of Art And Design, 2010. His First Solo Exhibition Was Held At Untitled, New York, 2014 And He Has Also Participated In Groups Exhibitions At Roberts And Tilton, Los Angeles, And Steve Turner Contemporary, Los Angeles. In 2015, He Will Have Solo Presentations At Depart Foundation, Los Angeles, And The American Academy, Rome.