It's a hot, California autumn day when I
make the trek out to a Los Angeles valley
to meet the second-generation Light and
Space artist, Gisela Colón. Her studio,
located in an industrial park, is a warehouse
space, once home to a plastic manufacturer
and a befitting locale for an artist whose
preferred medium is poured acrylic. The
drive through a never-ending maze of brown
hillsides and gray concrete only magnifies
the beauty of Colón's recent "Pods" series—
nebulous, shimmering, and colorful "nonobject"
works that traverse the sensation
between a solid and a liquid.
The doors to the warehouse are wide open,
and the embalming warmth acts as a contrast
to the aloofness of a single pod staged
on a side wall. Amoeba-like, shiny, displaying
a pleasing iridescent charade of color,
Colón's "Pods" take on an amorphous quality.
They feel primal and molecular, like the
starting point of all life, at once singularly
beautiful and yet indistinguishable in their
form, even as their colors continually change
depending on viewpoint and surrounding
light. I almost expect this pod to slither off
outside, where it will simply evaporate under
the heat of the afternoon sun.
Following the success of Colón's recent
gallery exhibitions in Houston, San Diego,
and Los Angeles, and half-a-dozen museum
shows (including at the Butler Institute of
American Art in Youngstown, Ohio, earlier
this year and several upcoming in the U.S.
...see the entire article in the print version of November's Sculpture magazine.
Hyper Ellipsoid Glo-Pod (Iridescent Black Indigo), 2016. Blow-molded acrylic, 90 x 42 x 13 in.