Saturday, April 16, 2022, 6:00 PM –
Sunday, June 5, 2022, 5:00 PM
April 16, 2022
6:00 PM – 11:00 PM
COMPOSITE began as a fixation on understanding and perfecting a chair form archetype—and then it morphed into a worship of material and light. We take a practical, durable figure that’s taken for granted and turn it inside out, while also injecting it with a gonzo sense of humor vis-a-vis mediums that are both opulent and industrial. In short, we search for beauty in mundanity by rendering an otherwise common and everyday object completely useless (thus, the “Don’t Sit” slogan). By eliminating its practical purpose, all that is left is joyfully ridiculous yet austere beauty.
Jeremy Rocine—is a keen-eyed fine artist and disciplined builder who subliminally vacillates between speaking through dreams informed by the supersaturated world of color and joy around him and helping others give voice to their own.
He’s spent most of his time in the studio exploring large-form oil and acrylic abstraction, photoreal line drawings, and whimsical sculptural pieces. He’s been intimately embedded in the L.A. art world for nearly twenty years as an art handler, technician.
Nik Mercer—is a creative project manager and factory foreman whose visual work has predominantly been expressed through graphic design and commercial undertakings. His professional work began through graphic design work he organized through his long and winding path in the dance-music communities of NYC and L.A., where he has run record labels and roving parties (Let’s Play House, Zen 2000, and, most recently, Nilo Music) since 2009.
Never satisfied settling on one particular lane, he’s always seen these businesses as sandboxes within which to explore the more absurd and out-there ideas he wouldn’t be able to spend time on with short- and long-term client engagements.
Longtime friends and enthusiastic supporters of one another’s personal pursuits and passions, COMPOSITE is Jeremy Rocine and Nik Mercer’s first foray into a formal creative practice. Perhaps in large part because the two share so much history, the collaboration that is COMPOSITE congealed with both urgent velocity and a contained patience.
Both are drawn to contradictions and dualities, always approached with self-effacing humor and playful curiosity, which is metaphorically fitting as the two themselves represent a symbiotic dichotomy: they share a wry humor and troublemaker’s desire to juxtapose the banal with the refined, the verbose with the primitive, and yet their voices and demeanors are forever locked in a giver-receiver or recorder-performer pas de deux.