past CHG show April 19 - May 10, 2014 BEAU STANTON "Cartography of the Machine" Beau Stanton INFO & PRESSSEE SHOWMEDIA
"Cartography of the Machine"
April 19 - May 10, 2014

Culver City (April 1, 2014) On Saturday, April 19, 2014, CHG Circa presents Beau Stanton’s,“Cartography of the Machine”, the artist’s L.A. solo debut of 13 new paintings and a unique animated painting that will be available in a limited edition of 10. 

The visual power of diagrams. Alchemy of the spirit. Ornamental surrealism. The work of Beau Stanton personifies these concepts by mixing 19th century historical references, industrial textures and intense acidic color palettes. Practicing old-world craftsmanship and drawing from his knowledge of architecture, letterpress graphics, and antique curiosities, Stanton executes his vintage modern compositions with an obsessive compulsive attention to detail. This calculated visual ephemera Stanton creates has translated well from his immense public murals to these new, more intimate, individual pieces for Corey Helford. “I employ traditional methods of visual exposition to describe the inner workings of imagined metaphoric structures,” Stanton explains. “Devices like cutaways and exploded views expose hidden layers within the archetypal frameworks of anatomic, geologic, and architectural systems. These visual dissections provide unique perspectives while presenting the mechanical nature of my imagery.”

The opening reception for Beau Stanton will be hosted Saturday, April 19, 2014, from 7-10pm at CHG Circa. The reception is open to the public, and the exhibition is on view through May 10, 2014. 


A painter and muralist, Stanton creates work ranging in size from tiny eye miniatures to large-scale murals ornamenting entire building facades. The work combines classical oil painting with intricate patterns inspired by ancient architecture, letterpress ornaments, and decayed infrastructure. In search for historical reference, Stanton begins his artistic process by exploring historic buildings and abandoned sites in the NYC area and beyond collecting photo references, Victorian ephemera, and antiquated machinery. These artifacts often appear in Stanton’s paintings as visual cogs in heavily ornamented machine-like compositions. The initial studies of these objects are then distilled into highly ornate compositions utilizing a variety of techniques including ink renderings, digital media, and screen printing. Finally, the pieces are fully rendered in delicate layers of oil paint, manipulating focus, light and perspective.