The ornate paintings depicted in Robert Ginder’s first solo show at Craig Krull Gallery induce nostalgia, especially for those Angelenos. Palm trees, long-standing businesses, bungalow-style homes, and points of attractions rise from their gold leaf-encrusted wooden canvases. “Not Knowing,” the show’s title, contains various-sized and structured pieces that revive materials and techniques akin to ancient art practices, adorning their respective scenes. There is a quasi-divinity tethered through the intimate gallery rooms, and when it eventually strikes the viewer, their connection to the subject matter can be rewarding.

Veiled Pier, 2022

Religious iconography is used a great deal in Veiled Pier (2022). A clouded sunset over the Santa Monica pier is painted on a semi-circled wooden panel resembling ones used by early Renaissance painters. A thin layer of gold leaf covers the sky emphasizing a halo-like design for the ferris wheel. Considering an art historical context reminds us of how halos were employed to bestow holiness upon individuals. In an ironic twist, the ferris wheel stands in for SoCal’s piousness.

TV, 2022

Even less notable and more generic scenes are glorified using gold leaf in Ginder’s works. For instance, in Privacy (2021) he pays homage to mid-century modern architecture by including miniature turquoise breeze blocks. Placed in front of two bushy palm trees, this three-dimensional bespoke element reminds some of the views we encounter less today.

In its final form, Ginder’s show is a definite nod to California living. Both good and bad, the content of these works garner appreciation and potential questions about the City of Angels (no pun intended!).