LOS ANGELES, CA.- LAUNCH LA presents Out of Body featuring paintings by Jonathan Apgar, Tiffany Livingston, Victor Reyes and sculpture by Alisa Ochoa.

I heard a beautiful sound
Floating higher than the stars could be
And I lie there/my eyes closed
I felt you come in/open window
I felt you blow cool and soft across my face

– I Felt You, The Microphones

Out of Body focuses on work that attempts to capture the invisible. All four artists in this exhibition embrace the unknown. They allow their processes to guide them towards a resolution that embodies a feeling, sound, or vibration.

Jonathan Apgar’s paintings reveal themselves gradually. They are haunting and otherworldly. Oscillating between figure and ground, Apgar uses color strategically to manipulate one’s perception. Layers of color transform into patterns that become wrapped around and embedded into fragments reminiscent of ancient texts. Reds, greens, and blues blend optically from a distance and become variations of grey that distinguish themselves from each other up close.

Tiffany Livingston’s paintings are visceral. Like Apgar, Reyes, and Ochoa, her paintings suggest landscape and are imbued with emotion. Livingston’s paintings have a supernatural quality and the surfaces are best described as a combination of flat, opaque, granular, shiny, and matte. They resemble artifacts dug up from the earth, found reliefs, or paintings on cave walls. Livingston’s paintings seem to rely on individual sets of rules governed by feelings. Each painting reflects its own distinct sound.

Victor Reyes’ paintings begin with a recurring childhood dream that he continues to reinvent in each work. The spaces conveyed in Reyes’ paintings are unidentifiable and rely on their own logic. Like Apgar, Reyes plays with spatial reversal and creates contrast between flat, opaque color and dimensional brushstrokes. The forms seem to hold each other up and defy gravity while moving at different rhythms. As a result, the paintings appear to be in constant flux and frozen at the same time.

Alisa Ochoa’s sculptures are intimate in scale and invite one to look closer. Much like the forms reflected in Apgar’s and Reyes’ paintings, the shapes of Alisa’s pieces appear organic. Though they suggest biological forms, minerals, and seashells, they still remain ambiguous. The pale blues, greens, neutral greys, and fleshy pinks are reminiscent of California and the subtle patterns embedded in the surfaces are a direct result of the Nerikomi technique that Ochoa utilizes.