Jessica Stockholder’s latest show, “The Guests All Crowded into the Dining Room,” suggests the organic flow of a bustling house party, an apt association for work that brings ultra-diverse ingredients into animated conversation. The reference to an architectural interior makes sense too: The show’s eponymous installation, a large wooden ramp snaking around the gallery, is not only a piece in its own right but also a pedestal for a sculpture and a viewing platform for drawings pinned to an adjacent wall.
Stockholder’s fondness for hybrid forms is further evidenced by two “Assists”—sculptures supported by other objects (here it’s a pair of armchairs to which the works are unceremoniously strapped). While Stockholder’s practice is sculptural insofar as it revolves around physical elements in space, it’s also strongly painterly, emphasizing color and surface. In Blanketed Crowd Development, for example, a piece of white sheepskin is slathered in candy-pink oil, making for a deliciously uncomfortable clash of textures.
Stockholder uses found or purchased components, and a neat friction exists between their functional origins and their refashioned roles as parts in abstract compositions. Shoulder bags, driveway mirrors, furniture feet, ice cube trays—Stockholder has corralled them all into the liveliest visual shindig of the new season.