Divine Gluttony
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Transcript of Divine Gluttony
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divineGLUTT NYj o n g o m e z — k a y l a n g e o r g e
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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
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kayl an george
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jon gomez
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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
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2685 South La Cienega Blvd.
Los Angeles, CA 90034
310 559 5215
nyeplusbrown.com
—
In conjunction with
Jon Gomez and Kaylan George:
Divine Gluttony
September 13, 2012
—
Designed by Kyle LaMar
& Kaylan George
—
Music by
Dmitri Shostakovich -
Waltz No. 2
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