Paul Laffoley: The Force Structure of the Mystical Experience

September 11 – November 7, 2015

Installation view at Kent Kent Fine Art (2015)

THE CITY CAN CHANGE YOUR LIFE (1962)

Oil, acrylic, and hand applied vinyl letters on canvas

24 X 48 in. / 70 × 122 cm.

WHY IS THERE SOMETHING RATHER THAN NOTHING? (1964)

Oil and mixed media on canvas

48 × 52 in. / 121.9 x 132.08 cm.

RUDOLF STEINER (1965)

Oil and acrylic on canvas

51 1/2 × 51 1/2 in. / 130.8 × 130.8 cm.

THE VISIONARY POINT (1970)

Oil, acrylic, ink, and hand applied vinyl letters on canvas

73 1/2 × 73 1/2 in. / 185.4 × 185.4 cm.

THE GATE OF BRAHMAN: THE COSMIC OCTAVE (1971)

Oil, acrylic, and hand applied Vinyl letters on canvas

98 × 48 in. / 248.9 x 121.9 cm.

HOMAGE TO KIESLER (1968)

Oil, acrylic, ink, and hand applied vinyl letters on canvas

37 1/2 × 37 1/2 in. / 95 1/4 x 95 1/4 cm.

THE RENOVATIO MUNDI (1977)

Oil, acrylic, and hand applied vinyl letters on canvas

73 1/2 × 73 1/2 in. / 186.6 x 186.6 cm.

MYTH OF THE ZEITGEIST (2013)

Oil, acrylic, ink, and hand applied vinyl letters on canvas

49 1/2 × 49 1/2 in. / 125.7 x 125.7 cm.

QUARTUMDIMENSIO AEDIFICIUM (THE CLAUDE BRAGDON MEMORIAL BUILDING) (1973)

ARCHITECT: Paul laffoley, a.i.a.

Plywood, bass wood, clear plastic, acrylic paint, india ink, model cars, chicken bones, costume jewelry, styrofoam, model trees, grass, lead weights, and vitamin capsules

SCALE OF MODEL: 1/16 in. = 1 ft.

OVERALL HEIGHT: 50 in. / 149.8 cm.

BASE: 26 X 25 1/2 X 25 1/2 in. / 66 x 64.7 x 64.7 cm.

QUARTUMDIMENSIO AEDIFICIUM (THE CLAUDE BRAGDON MEMORIAL BUILDING), detail, (1973)

ARCHITECT: Paul laffoley, a.i.a.

Plywood, bass wood, clear plastic, acrylic paint, india ink, model cars, chicken bones, costume jewelry, styrofoam, model trees, grass, lead weights, and vitamin capsules

SCALE OF MODEL: 1/16 in. = 1 ft.

OVERALL HEIGHT: 50 in. / 149.8 cm.

BASE: 26 X 25 1/2 X 25 1/2 in. / 66 x 64.7 x 64.7 cm.

THE PSYCHOKENETIC WATER BALANCE: A DEVICE FOR TESTING PSYCHOKENESIS (1980)

Homage to: Isamu Noguchi [1904-1988] and Robert Hare [1781 – 1858]

Oil, acrylic, wood, wire mesh, string, shells and water

Fully hand carved, unique

18 ½ x 35 x 17 1/2 in.

47 x 89 x 44.5 cm.

DAS URPFLANZE HAUS (1981–97)

Natural materials, plastics,model-making materials, paint, drafting film, and vitamin e capsules

26 X 64 X 45 in. / 66 x 162.5 x 114.3 cm.

DAS URPFLANZE HAUS, detail, (1981–97)

Natural materials, plastics,model-making materials, paint, drafting film, and vitamin e capsules

26 X 64 X 45 in. / 66 x 162.5 x 114.3 cm.

HOW TO DELIVER AN EGG THROUGH SPACE (1980)

Homage to Alberto Giacometti (1901 – 1966) and Ettori Bugatti (1881 – 1947)

Basswood, Honduran maple, compass, string, rubber band, shell, magnet, pin, and egg

Carved by Hand, Unique

25 3/4 x 46 ½ x 24 ½ in.

65.4 x 116.8 x 60.9 cm.

TELESIS I (1982)

Polychromed wood, model making materials

Constructed by hand, unique

8 x 39 x 22 3/4 in.

20.3 x 99. X 57.8 cm

MAQUETTE FOR A THOUGHTFORM (1993)

Acrylic on tulip and maple wood, balsa, and bass wood

with base: 7 x 12 x 122 in. / 17.7 x 30.4 x 309.8 cm.

THE MEDITRON (1985)

Mixed Media

Overall: 37 x 5 ½ x 25 ½ in.

Signed and dated on the verso

THE NEW MOTIVE POWER OF SPIRIT-WILL (1975)

Ink, collage, balsa wood, and vinyl lettering on board

18 3/4 x 36 in. / 47.6 x 91.4 cm.

LEVOGYRE (1975)

Monotype on 100% rag paper

23 x 23 in. / 58.4 x 58.4 cm.

QUARTUMDIMENSIO AEDIFICIUM (1975)

Mixed media on board

36 x 48 in. / 91.4 x 121.9 cm.

DIE ERDE BLUME: THE EARTH FLOWER (1994)

Ink, collage, wood, glass, and permasign press type on board

19 3/4 x 27 in. / 50.1 x 68.5 cm.

GAUDEAMUS IGITUR (2001)

Ink, collage, and permasign press type on board

21 1/4 X 21 1/4 in. / 53.9 x 53.9 cm.

AFTER GAUDI: A GRAND HOTEL FOR NEW YORK CITY (2002)

India ink, photo collage, and permasign press type on museum board

22 x 14 in. / 55.8 x 35.5 cm.

GAUDI HOTEL: FIRST LEVEL PLAN (2003)

Ink on paper

18 1/2 x 21 in. / 46.9 x 53.3 cm.

This survey of the visionary works by Paul Laffoley will include, for the first time, models of utopian speculations related to the architectural problems that we currently face. The show begins with perhaps his most puzzling incidence of genuine predictive powers as evidenced by the painting The City Can Change Your Life, 1962, to the current cycle of works related to the Guggenheim Fellowship (2009) project entitled Building the Bauharoque.

“I have been more interested in the nature of Utopian Space in terms of how to describe it and how to create it. In this regard, I feel that I harken back to reconsider the intentions and agenda of The Bauhaus, The Constructivists, The Deutscher Werkbund, etc., from the early part of this century. In doing so, it is with the belief that I am helping in some way to keep alive the “flame” of these Modernists (almost extinguished by the ‘Post-Modernists’), a flame if properly tended could burst into the ‘Fire of the Future’ which could light our way until the golden dawn of The Bauharoque.” -PL (1992)

Following a formal education from Brown (1962) in the classics, and architectural studies at Harvard (1963), Laffoley would begin to assimilate and systematically cross-pollinate his variousstrands of intellectual inquiry. In search for expanded opportunities, Laffoley came to New York to work with the visionary Frederick Kiesler, and was further recruited for viewing late night TV for Andy Warhol in exchange for a place to sleep. By the mid sixties, Laffoley began to experiment with the inclusion of written texts layered over mandala like compositions inspired by Andy Warhol’s late night television programming between 1 and 5 a.m., as well as his growing interest in eastern mysticism. By 1971, Laffoley’s inclusion of text, whether specific in language or scientific notation, required the viewer to observe as well as read the works. The Boston Visionary Cell (1971) is a crucial facet in understanding Laffoley’s work and method. As stated in its founding charter, it was created “to develop and advance visionary art”:

“My personal mission as an artist has always been to explore Utopic Space in terms of both sensibility and it’s ontic status. I have developed this task by means of symbols, perhaps the only way an individual can approach such a project.” -PL (1971)

Laffoley’s endeavors evoke freedom from the limitations of time and space, which imprison our curiosity about the infinite possibilities beyond the radius of our sight and orientation. At times, his oscillations between the sublime and grotesque approach a metaphysical intensity.

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