David Kordansky Gallery is pleased to present the first Los Angeles solo exhibition by the London based, Australian born artist David Noonan. Historical imaginations, invented memories, bohemianism and late 20th century British theatre inspire David Noonan's installation of large-scale screen prints, collages and bronze sculptures.Noonan fabricates stills of ersatz performances involving gurus, masked figures, harlequins, and exotic fauna. These participants are presented in a cosmological and psychological realm. Noonan hints at a mythology without provenance and suggests an inexplicable scene beyond the material world. The work's layered, cinematic imagery becomes like a physical interpretation of filmic space and at times alludes to the surrealist and complex constructions of Latin American filmmaker Alejandro Jodorowsky in films such as Holy Mountain and Fando y Lis.



Noonan presents a fabricated vision that is awesome in its complexity. Using the liturgy of art itself as a departure point for invention, Noonan conceives his work as ?documentation? of plausible performances: his cast of characters are positioned as participators in highly elaborate artworks, invoking covert and futuristic ritual. Stylistically referencing Surrealism and experimental film, Noonan's work poses as the aesthetic remnants of ?lost masterpieces?, weaving his own extravagant fantasies into fabric of collective consciousness.Piecing together plausible narratives from his readymade motifs, Noonan renders the intimacy of psychological space as indistinguishable from public cognisance. Using the qualities of photomontage to replicate the linear aspects of film, Noonan's disparate imagery collates to convey a transient sense of time and space that is both theatrical and strangely insular. Through his process of screen printing, Noonan capitalises on the effects of transluscent layering and exaggerated lighting to replicate the flickering chimera of cinematic projection; an intangible illusion simulating the abstraction of dreams.Noonan's previous installations as a ?custom-made flashback, tailored with an appreciation for aesthetics [used] to create a historical flavor.?* In Noonan's new series, visions of a quasi ? spiritual, separatist community, a pagan cult of sorts, are prompted by photographs of children and adults dancing, hugging, and practicing abstract artwork.