Slipping Glimpser
Munro Galloway
Iva Gueorguieva
Cameron Harvey
Aaron Maier-Carretero
Patrick McElnea
Wönzimer
341-B S. Avenue. 17, Los Angeles, California 90031
(May 23rd – June 20th, 2025)
Opening: Friday, May 23rd, 5-10pm
“When I’m falling, I’m doing alright. And when I’m slipping, I say, ‘Hey, this is very
interesting.’… That is a wonderful sensation … to slip into this glimpse.”
–Willem de Kooning to David Sylvester, 1960
Wönzimer is pleased to present Slipping Glimpser , an exhibition of five painters working in Los Angeles, connected through a shared commitment to process, improvisation, and dialogue. Through a series of informal studio visits over the past two years, these artists exchanged ideas, shared works in progress, and explored the slipperiness of looking, making, and understanding.
It began when Iva texted Pat and Munro for a studio visit. They went to her studio on North Spring Street, near the LA River, where Cameron was already waiting. Aaron showed up a little later. Together they moved the giant paintings around, shifting them to see from different angles.They talked about habitats, craters, tornadoes, ghostly transparencies, and dotted lines. Iva gave everyone a drawing, and afterward they went to the bar.
The next time they gathered was at Aaron’s studio. Dapples, his Great Dane, greeted them at thedoor before sprawling in the middle of the room. Aaron’s paintings of cats, birds, sardines, and sandwiches covered the walls. They sat on the floor leafing through drawings, and talked about grids, repetition, and containment.
At Cameron’s studio her unstretched paintings were piled on the floor like rugs. The canvases were massive, spilling loosely from the walls onto the ground. In the middle of the space was a large cocoon-like mass of colorful plastic painting detritus. Cameron was trying to make it stand on its own. They talked about hides, moths, leaves, midlines, and dancing.
In Pat’s studio, they looked at oil paintings on panels, made through blotting and wiping. The paintings evoked soot, fog, shadows and sidewalks, and the color of pollution. They talked about mixing color, and how certain combinations evoked a mood. Towards the end, Pat pulled out his collages, with titles, like Eye-eye-foam and Fidelity Futures .
When they visited Munro’s studio, the walls were covered with hundreds of black ink drawings on newsprint, alongside large oil paintings. Small hand-painted wooden sculptures sat on shelves beneath the drawings. Aaron noticed one painting was upside down, so they turned it around. They looked at the paintings and saw masts, eyes, apertures, doorways and horizon lines. Then they went back to Munro’s house for soup.
