Last week, an abandoned home in the hills of Mt. Washington, once infested by raccoons and possums, transformed into “Revel Hall,” a temporary exhibition space showcasing Amelia Lockwood’s raw, altar-like and talismanic ceramics alongside Chris Lux’s admirably crooked and crude domiciliary sculptures. Renounced of drywall and touched up with unmethodical white paint in only a few rooms, the house serves as a refreshing reminder of how little is needed to present art, especially when the works of the artists engage in a determined conversation with each other and a space can cradle that dialogue. In the room furthest from the entrance, Lux’s french door-sized, choppy and thrashing compositions of blue, red, yellow and clear stained glass, embedded in the door frames, filter colored light onto Lockwood’s torso-scale ceramics, which rest on a pile of stacked bricks. Lockwood’s high-fired, mostly earth-colored works with a fringe of color, like her other pieces in the show, are feverishly layered and compress one architectural ornament style on top of another while entangling floral and animal-like forms. Meanwhile, in the same room, the scent of burning dinner candles and incense floods the space from the fireplace, fostering a sense of hospitality between two artists who both wield a wealth of unbroken energy in their works.

Guerrero Gallery
1832 Burnell Dr.
Los Angeles, CA
On view through March 24, 2024