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222:, amongst others. Her paintings also showed the influence of artists associated with "Light and Space" in Los Angeles such as Ron Davis and Craig Kauffman. In 2012, Colon moved away from painting into sculpture, focusing on perceptual phenomena, an interest she shares with other members of the Los Angeles-based Light and Space movement. Colon's friendship with mentor De Wain Valentine, and the writings of Donald Judd and Robert Irwin, generated a shift in her work increasing towards issues of visual perception and materiality, which led to the creation of her sculptural body of work.
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the colors slip and slide like an oil slick on water. Further alterations are apparent as a viewer approaches the work. Among the many shifts, in a single work, pale aqua can turn to lavender and appear to melt within the form. At close proximity, the focus shifts to the frosty surface, as though one were looking through a white cocoon to the pupa within. At a greater distance, the pupa can seem to vibrate with the growing intensity of its perceived colors. There is no there, there: no singular location in which one can grasp all the implications of a single work."
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described as "sublime sculptures that resonate with color and light. Mysterious and magicalâŠ. they emit, reflect and refract lightâŠfeel otherworldly and seems to emanate a powerful life force. The metallic colors shift as the viewer circles it, much like the wall pods mutate in response to shifting points of view or changes in the lightâŠ.These works aspire to be the opposite of fixed and static; they are shape-shifting, non-linear, non-specific objects. Working from a vocabulary of minimalist geometric forms, Colon achieves glowing, timeless objects of beauty."
425:, Anny Shaw remarks, âLinked to the Californian Light and Space movement as well as the land artists of the 1960s and 1970s, ColĂłn views her role as âdisruptor and challenger of the past canon where, traditionally, men created aggressive gestures, which were sometimes destructive towards the Earthâ. By appropriating traditionally âmale-associatedâ forms such as the phallus, bullets, missiles and rockets, and rendering them as ambiguous objects, ColĂłn says she âsubverts a complex framework of deeply held cultural semioticsâ.â
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shimmering surfaces" that have been described as "phallic shaped pieces," "ambiguous works that defy categorization. The pieces have a presence and a resonance, and Colon succeeds in fashioning unsolvable optical illusions that inspire wonder far beyond their formal properties." Representing a new direction for Colon, the
Monolith sculptures are 12-foot-tall iridescent pillars that "succeed in providing viewers with a dramatic perceptual experience...Radiant, elegant and pristine, manage to be both strong and sensuous.
242:. ColĂłn defines Organic Minimalism as a visual and sensory artistic practice that generates perceptual experiences through a reductive vocabulary of forms that embody organic lifelike qualities of energy, movement, change, growth, transformation, evolution, gravity, and time, emanating radiant energy sourced from the Earth and beyond, becoming conduits of transmutation, transformation, and enlightenment. The practice of Organic Minimalism is said to draw raw energy from visible and invisible worlds, incorporating as
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122:, breathing lifelike qualities into reductive forms. Operating at the intersection of art and science, Colon is best known for meticulously creating light-activated sculptures through industrial and technological processes. Drawing from aerospace and other scientific realms, Colon utilizes innovative sculptural materials such as carbon fiber and optical materials of the 21st century, to generate her energetic sculptures. Colon's
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mythology, and sacred geometries. Resembling a glowing sun, the 30-foot (9 meter) long sculpture created of aerospace-grade carbon fiber, laid at the foot of the Sphinx and the
Pyramids activating a direct dialogue across time with its historic and cultural surroundings. Through semiotics and the embodiment of a universal geometric language, the installation envisioned a future of humanistic solidarity and unity.
267:'s ideas and writings, such as his seminal essay "Specific Objects" (1964, published 1965), Colon refers to her works as "non-specific objects" to highlight their deliberate fluid indeterminacy. The sculptures are conceived as "non-specific objects" that transmute their physical qualities through fluctuating movement, varied lighting, changing environmental conditions, and the passage of time.
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Pashgian's illuminated monoliths. Unlike
Pashgian's plinths, or Doug Wheeler's neon-backlit canvases, Colon's scarab-like objects achieve their iridescence via the play of natural light, yet the sculptures appear to change color as one moves around them, as if lit by multihued bulbs.Perhaps more to the broader point, Colon's labors are very much her ownâŠ"
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now Gisela ColonâŠ..Colon's wall-bound " pods" in a variety of whimsical, organic shapes â lozenges, softened trapezoids and freeform globules â as if conceived with a kid's giant bubble wand. Most sport a multicolored nucleus made from layers of colored plastics, which glows brightly if mysteriously within the paler milky form."
174:. Her use of color, shapes and internal layering is considered "assertively feminist," and "grounded in Minimalism." Her work has been compared to earlier male artists like Craig Kaufman, Dewain Valentine, Doug Wheeler, and Peter Alexander for her use of materials and light as medium; however, as pointed out in
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In 2021 as part of a historic international exhibition at the 4500-year-old UNESCO site of the
Pyramids of Giza in Cairo, Egypt, ColĂłn installed a site-specific work, Eternity Now (Ellipsoidal Dome Gold Iridium) informed by the ancient Egyptiansâ advancements in astronomy, science, art, architecture,
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Colon produces incandescent sculptures generally referred to as "Pods." In 2012 Colon began working with plastics, developing a unique fabrication process of blow-molding and layering various acrylic materials. This industrial process creates dynamic sculptures that fluctuate in appearance, emanating
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Colon creates large-scale floor-based sculptures called "Monoliths," 12-foot tall vertical singular-form sculptures, engineered with aerospace technology, possessing no lines, corners, edges, or demarcations, conceived as pure form to denote clarity and aesthetic purity. The
Monoliths have "allusive
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In her essay "Notes, Thoughts, Observations
Towards the Development, Conceptualization and Creation of Non-Specific Objects," Colon refers to her plastic sculptures "non-specific objects," further explaining, that "Non-Specificity a quality brought about by the inherent mutability of the object."
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Art critic Mat
Gleason explained: "Rather than have some technological trick embedded into the art, has made objects that are altered by the world around them yet never stop being themselves. This artist has thus delivered a meditation on the flexibility of the feminine as antidote to the rigidity
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Christopher Knight, art critic for the LA Times writes, "Sleek sculptural objects with misty, mercurial surfaces and at least partial inspiration from aerospace technology have not lost their appeal in more than half a century. In Los
Angeles, first there was Craig Kauffman, then Helen Pashgian and
417:, for its 2020 iteration located in AlUla, Saudi Arabia. Her site-specific project titled "The Future is Now," consisted of "a silver-bullet-like obeliskâ curvy and iridescent on one side and, where the sun couldnât shine, flatter and grayâ represented the rare perfect fusion of art and setting."
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Art writer and biographer Hunter
Drohojowska-Philp describes this phenomenon: "When the most recent iterations of the Glo-Pods are mounted on a white wall, the 'inherent mutability,' so desired as an effect by Colon, is indisputable. Depending on the combination of artificial and natural lighting,
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movements, critic Dr. Suzanne Hudson states, "Colon's 'Glo-Pods,' 2013â, irregularly shaped wall mounted acrylic orbs, recall the languid organicism of Craig
Kauffman's candy-colored bubbles; their intimation of light emanating from within the impossibly smooth contours additionally channels Helen
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In 2017 Colon developed a series of standing sculptures referred to as "Light Slabs," 8-feet tall works with a light-activated core rendered in translucent acrylic and polished stainless steel. The combination of disparate materials creates a duality of perceptual phenomena. The Slabs have been
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In 2017 Colon created the Parabolic Monolith, a monumental sculptural form towering 15 feet high, described by art critic Christopher Knight, "like the flattened nose-cones of an airplane or science-fiction starshipâŠ.Undeniably eye-catching, these giant luxury objects press technological
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Colon has exhibited internationally throughout the United States, Europe, and the Middle East. Originally from San Juan Puerto Rico, but currently living and working in Los Angeles, California, Colon creates work that is the product of cross-cultural influences, fusing characteristics of
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Colon is one of the few women working in the Light and Space and Finish/Fetish movements. Recognized as a successor and legatee of California Minimalism and the Light and Space movements, Colon has exhibited her work alongside veterans of these movements such as
202:, graduating magna cum laude in 1987 with a B.A. in economics, after receiving a 1986 Congressional Scholarship Award by the Harry S. Truman Foundation. Colon moved to Los Angeles in 1987 to pursue graduate studies, receiving a Juris Doctor degree from the
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At Regent's Park in London, Colon embedded a 25-foot (7.6 meter) tall monolith, Quantum Shift (Parabolic Monolith Sirius Titanium), 2021, responsive to the environment of the UK, with a surface finish that activated in cloudy weather. Writing in
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In 2020, Colon exhibited a series of linear wall sculptures titled Light Portals, presenting swaths of structural color that shift and refract depending on the variability of external light conditions and the position of the viewer.
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is a term of art coined in 2018 by ColĂłn to describe her artistic practice of imbuing organic lifelike qualities into a vocabulary of minimal reductive forms, expanding and deconstructing the traditional male-dominated canon of
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Colon's oeuvre encompasses several distinct sculptural forms: Pods, Monoliths, Slabs, Light Portals, and Unidentified Objects. The through-line in all of Colon's work is the concept of the "mutable object." Influenced by
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the laws of physics, the intrinsic life force emanating from planet Earth, the powerful generative forces radiating throughout the cosmological realm, and the sublime mysteries of the quantum universe beyond.
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Critic Steven Biller has stated that: "Without question, Colon's approach to shaping, forming, and coloring is advancing the trajectory of the resurgent Light and Space / Finish Fetish movement."
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sculptures disrupt the traditional view of the masculine minimal object, by embodying qualities of energy, movement and growth, through a merger of industrial with the organic.
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Gisela Colon, "Untitled (Monolith Silver)", 2016, engineered aerospace carbon fiber, 144x40x40 inches, 365.76x101.6x101.6 cm, Los Angeles County Museum of Art (LACMA)
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In 2020, Colon created Unidentified Objects, a body of work referencing cosmological origins and universal forces such as matter, energy, gravity, space and time.
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light and color inherently from within. The Pods shift color and form before the viewers' eyes depending on lighting, and the viewers' choice of location.
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Colon was born in Vancouver, Canada, in 1966 to a German mother and Puerto Rican father. Her mother was a painter who studied languages and art at the
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1468:"'We Changed People's Mentality': What It Was Like on the Ground in Egypt as Officials Unveiled the Pyramids' First-Ever Contemporary Art Show"
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Colon's work has been presented in several institutional surveys and thematic exhibitions such as: "Brave New Worlds: Explorations of Space,"
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in a public lecture in 2018; Organic Minimalism as the theoretical foundation of this artistic practice began as early as 2012.
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Ultra Spheroid (Gold Aqua)", 2017, blow-molded acrylic, 90x42x12 inches, 229x107x33 cm, Perez Art Museum Miami (PAMM).
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Colon began her career as a painter, exhibiting abstract works from 2005 through 2011. Colon's early influence included
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959:. Los Angeles: Los Angeles County Museum of Art (LACMA) and Delmonico Books. pp. 36â39, 80, 101.
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1414:"JR blows the top off Egypt's Great Pyramid: first look at Cairo show of contemporary sculpture"
1224:"In LA for Frieze Week? Here Is Our Guide to 33 Inspiring Gallery Shows to See Beyond the Fairs"
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982:"L.A. Artist Gisela ColĂłn on Organic Minimalism, Her New Solo Show and Dior Collaboration"
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The first Monolith of this series, created in 2016, is in the permanent collection of the
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In describing Colon's work in the historical context of California Minimalism and
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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Colon's works are held in the permanent collections of institutions such as the
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377:, Palm Springs, California, 2019; "California Connections: Selections from the
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724:"Gisela Colon at Ace Gallery: Light & Space Art Gains Content"
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389:, Malibu, California, 2017; "Crystals in Art: Ancient to Today,"
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1116:(1st ed.). Los Angeles: Ace Gallery. pp. 150, 151.
544:"Gisela Colon's monolithic mysteries and playful wall 'pods'"
830:"Virtual and Real Shake Hands @ Silicon Valley Contemporary"
1387:"Confessions of a Curator: 'I Can't Live Without Sculpture"
1164:"Gisela Colon: "HYPER-MINIMAL" at Diane Rosenstein Gallery"
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804:"Could Silicon Valley Contemporary Be the Next Art Basel?"
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Hudson, Suzanne (March 2016). "Atmospheric Abstraction".
934:. Los Angeles: Ace Gallery. pp. 40, 149, 153, 154.
1141:(1st ed.). Los Angeles: Ace Gallery. p. 39.
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The Work of Art in the Age of Mechanical Reproduction
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Light, Space, Surface: Art from Southern California
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2009:Timeline of 20th century printmaking in America
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339:craftsmanship to an extreme degree."
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857:"Gisela Colon:'Pods' at Ace Gallery"
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379:Museum of Contemporary Art San Diego
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2108:Index of painting-related articles
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662:"Gisela ColĂłn at Diane Rosenstein"
570:"Gisela Colon at Diane Rosenstein"
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600:"Visual Vernacular: Gisela Colon"
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980:Moore, Booth (3 December 2020).
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405:, Sarasota, Florida, 2021â2022.
325:Los Angeles County Museum of Art
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1280:"Gisela Colon CURRICULUM VITAE"
399:Addison Gallery of American Art
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401:, Andover, Massachusetts, and
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3184:Aestheticization of politics
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383:Smith College Museum of Art
250:ColĂłn first presented this
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375:Palm Springs Art Museum
196:Simon Fraser University
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955:Eliel, Carol (2021).
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3224:Philosophy of design
3104:In Praise of Shadows
3094:The Critic as Artist
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1873:Single-artist museum
1762:Conservator-restorer
836:. Squarecylinder.com
606:. Free Press Houston
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361:Unidentified Objects
3234:Philosophy of music
3209:Mathematical beauty
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802:Goldstein, Andrew.
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516:. The ARt Newspaper
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300:of the masculine."
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2950:Life imitating art
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987:Women's Wear Daily
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489:. Washington Post
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220:Jesus Rafael Soto
138:, Finish Fetish,
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478:
461:, among others.
395:Frist Art Museum
216:Carlos Cruz-Diez
160:DeWain Valentine
33:
19:
3365:
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3144:Critical Essays
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2708:Ortega y Gasset
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2307:
2293:Painting portal
2284:
2191:sculpture parks
2144:
2103:Elements of art
2071:Cultural policy
2013:
1965:Timeline of art
1951:
1942:Sculpture trail
1821:
1815:
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1657:Performance art
1539:
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1465:
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1438:
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1412:Dawson, Aimee.
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828:Roth, David M.
827:
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812:
810:
801:
800:
796:
786:
784:
777:"Radiant Space"
774:
773:
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759:
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750:"Radiant Space"
747:
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728:Huffington Post
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481:Jenkins, Mark.
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411:
397:, traveling to
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240:Light and Space
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164:Peter Alexander
136:Light and Space
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68:
51:
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24:
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2470:Psychoanalysis
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2243:by nationality
2240:
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2166:Art techniques
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2052:deaccessioning
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2015:
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2012:
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1491:External links
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1365:standard.uk.co
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1286:. Gisela Colon
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1162:Zellen, Jody.
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1034:"Gisela Colon"
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2016:
2010:
2007:
2003:
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1983:
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1980:Art movements
1978:
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2186:most visited
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3310:1966 births
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3038:(c. 390 BC)
3017:Work of art
2970:Picturesque
2826:Avant-garde
2783:Winckelmann
2658:Kierkegaard
2583:Collingwood
2553:Baudrillard
2480:Romanticism
2450:Historicism
2384:Mathematics
2303:Arts portal
2176:Art museums
2091:art finance
1892:Arts centre
1856:Art gallery
1839:Art commune
1829:Art auction
1672:Printmaking
1601:Mixed media
1596:Kinetic art
1533:Visual arts
1391:nytimes.com
1359:Luke, Ben.
1311:nytimes.com
1045:18 December
1018:18 December
993:18 December
433:Collections
265:Donald Judd
144:Kinetic Art
65:Puerto Rico
56:Nationality
3294:Categories
2987:Recreation
2965:Perception
2858:Creativity
2558:Baumgarten
2548:Baudelaire
2430:Classicism
2345:Aesthetics
2276:sculptures
2130:Provenance
2025:Art market
1932:Commission
1880:Art school
1868:Art museum
1834:Art colony
1822:and events
1682:street art
1677:Public art
1478:3 November
1472:artnet.com
1451:3 November
1424:3 November
1397:3 November
1371:3 November
1344:3 November
1260:. Artforum
1228:artnet.com
465:References
236:minimalism
210:Early work
172:Mary Corse
156:Larry Bell
132:Minimalism
2992:Reverence
2898:Eroticism
2868:Depiction
2841:Masculine
2743:Santayana
2703:Nietzsche
2648:Hutcheson
2638:Heidegger
2623:Greenberg
2578:Coleridge
2543:Balthasar
2528:Aristotle
2490:Theosophy
2485:Symbolism
2460:Modernism
2445:Formalism
2255:Sculptors
2161:Art media
2123:sculpture
2064:paintings
1985:Criticism
1767:paintings
1757:Collector
1689:Sculpture
1606:bricolage
1537:art world
1439:Various.
1204:28 August
1174:28 August
1170:. Art Ltd
1093:. ART LTD
863:. ART LTD
808:Art Space
754:Artsy.com
672:28 August
645:28 August
610:28 August
315:Monoliths
206:in 1990.
93:Sculpture
73:Education
3267:Category
3199:Axiology
3068:(c. 500)
3058:(c. 100)
2933:Judgment
2888:Emotions
2883:Elegance
2863:Cuteness
2836:Feminine
2799:Concepts
2768:Tanizaki
2748:Schiller
2733:Richards
2723:RanciĂšre
2693:Maritain
2628:Hanslick
2568:Benjamin
2440:Feminism
2409:Theology
2389:Medieval
2379:Japanese
2374:Internet
2233:Painters
2118:painting
2030:The arts
1990:feminist
1927:Biennale
1667:Portrait
1652:Painting
1623:graffiti
1576:Fine art
1535:and the
1474:. Artnet
1230:. Artnet
1039:Desert X
1013:Cultured
915:25 March
911:. artltd
696:Artforum
666:kcrw.com
415:Desert X
409:Land art
327:(LACMA).
192:Edmonton
176:Artforum
97:Land art
3262:Outline
3177:Related
3044:Poetics
3012:Tragedy
3002:Sublime
2975:Quality
2960:Mimesis
2918:Harmony
2903:Fashion
2878:Ecstasy
2873:Disgust
2789:more...
2758:Scruton
2683:Lyotard
2618:Goodman
2598:Deleuze
2533:Aquinas
2523:Alberti
2496:more...
2475:Realism
2455:Marxism
2435:Fascism
2418:Schools
2404:Science
2359:Ancient
2238:by name
2181:largest
2018:Related
2002:outline
1784:Curator
1772:frescos
1709:tallest
1694:carving
1645:virtual
1640:digital
1635:history
1571:Drawing
1556:Collage
1544:Artwork
1317:9 April
1290:24 July
1264:9 April
1254:"Diary"
1234:9 April
1091:Art Ltd
888:7 April
861:Art Ltd
840:1 March
813:8 March
787:23 June
760:23 June
756:. Artsy
733:8 March
580:1 March
553:1 March
520:1 March
493:25 June
3168:(2009)
3158:(1977)
3148:(1946)
3138:(1939)
3128:(1935)
3118:(1934)
3108:(1933)
3098:(1891)
3088:(1835)
3078:(1757)
2945:Kitsch
2923:Humour
2853:Comedy
2831:Beauty
2773:Vasari
2763:Tagore
2738:Ruskin
2678:LukĂĄcs
2668:Langer
2613:Goethe
2538:BalĂĄzs
2518:Adorno
2399:Nature
2364:Africa
2260:female
1885:Europe
1820:Places
1809:Europe
1799:Patron
1789:Dealer
1779:Critic
1752:Artist
1704:statue
1699:relief
1618:fresco
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938:
867:13 May
668:. KCRW
457:; and
142:, and
140:Op Art
103:Awards
3257:Index
3026:Works
3007:Taste
2997:Style
2778:Wilde
2718:Plato
2713:Pater
2673:Lipps
2633:Hegel
2603:Dewey
2593:Danto
2573:Burke
2394:Music
2369:India
2352:Areas
2149:Lists
2140:Style
1794:Model
1745:Roles
1613:Mural
343:Slabs
2981:Rasa
2939:Kama
2913:Gaze
2848:Camp
2728:Rand
2663:Klee
2653:Kant
2643:Hume
2563:Bell
1480:2021
1453:2021
1426:2021
1399:2021
1373:2021
1346:2021
1319:2020
1292:2019
1266:2020
1236:2020
1206:2017
1176:2017
1143:ISBN
1118:ISBN
1099:2015
1066:ISBN
1047:2021
1020:2021
995:2021
961:ISBN
936:ISBN
917:2015
890:2015
869:2015
842:2016
815:2015
789:2016
762:2016
735:2015
674:2017
647:2017
612:2017
582:2018
555:2018
522:2018
495:2021
271:Pods
258:Work
238:and
218:and
170:and
84:(JD)
79:(BA)
45:1966
38:Born
2908:Fun
2688:Man
2608:Fry
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