ROSEGALLERY is pleased to present a collection of works by Megan Cotts and Manfred Müller, whose work pushes materials to their structural limits as seen on GALLERY PLATFORM LA.
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Megan CottsUntitled (Golden), 2015Tempera on linen, ash wood
17.5 x 59.5 inches“I’m interested in making sculptural work that occupies architectural space in a very particular way. To find the right place, to open spaces up, to get a secret out of a place, this is what thrills me.” - Manfred Müller
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Megan CottsUntitled (Golden), 2015Tempera on linen, ash wood
17.5 x 59.5 inches -
Megan CottsHoney, honey, 2012Canvas, thead38 x 32 inches
The punch-hole pieces reflect the tearing apart and weaving of family histories. Honey Honey, 2012 focuses on movement created from a two-dimensional form. Through geometrical and tactile folding and marrying of fabric, Cotts finds her practice in her family’s legacy. The repetitive nature of the weaving highlights care and precision. The melding of forms within the piece, brings the similarities to the forefront, but when focused with a keen eye, the idiosyncrasies of each twist and pull display the complexities of the form.
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Megan CottsUntitled, 2018Tempera and ground glass on linen
Two panels, each 16 x 26 inches, 32 x 26 inches total -
Megan CottsUntitled, 2018Tempera and ground glass on linen
36 x 12 inches -
Manfred Müller
“If you check in with these pieces every day new ideas come automatically,” says Müller of the paper works. “They flow like a river to the point that it’s impossible to catch up with all I want to do with them. It’s a wonderful problem, of course, but I’m constantly struggling with the question of how I can execute everything that I think of to do with this simple material.” - Manfred Müller
In his work, Manfred Müller seamlessly converses between negative and positive space. The biomorphic shapes in his White Prelude series, suggest “organic, protozoan” life forms, yet no precise form is depicted. The objects, whether wall bound or freestanding, are non-objective abstractions. However the volumes, shapes, and scale are anthropomorphic and engage viewers as if they were stand-ins for human entities. They are personable presences to be approached by the viewer; they are not shaped objects to be clinically observed so much as formalistic phantoms vaguely referencing the human physique.
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Manfred MullerBlue Prelude #3, 2021Oil paint on Felt Paper22 x 12 x 3 inches$ 6,500.00
Müller’s works are presented not as frozen and perfected objects. They exist timelessly. His sculptures openly disclose the process of their formation. Importance lies in their genesis as much as their present manifestation. To carefully observe a Müller sculpture or constructed paper sketch is to behold every step of its development.
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"It was my great fortune to come of age as an artist around a man like Beuys, and his influence is evident in my work,” says Müller. “His interest in installation, the care he took to waste nothing, his use of low materials for his work - these are qualities in my work too.”
Manfred Müller was born in Düsseldorf, Germany. He apprenticed as a technical draftsman, receiving his state license as an engineering draftsman before he studied visual communication at the university in Düsseldorf. In 1976, he began his studies at the Kunstakademie of Fine Art in Düsseldorf as a master-class student. "It was my great fortune to come of age as an artist around a man like Beuys, and his influence is evident in my work,” says Müller. “His interest in installation, the care he took to waste nothing, his use of low materials for his work - these are qualities in my work too.”
After leaving the Kunstakademie in 1981 he was awarded a Cité des Artes Scholarship, Paris, France and received the Grand Price for Fine Arts of the City of Düsseldorf in 1983, and the German Industry Endowment of the Arts in 1985. He was selected to be part of the exhibitions Dimensionen IV and Dimensionen V which were shown throughout Germany between 1984-1987. He was one of seven German artists of the inaugural exhibition Boñ Angeles supported by Goethe-Institut, Lufthansa, IBM and the City of Los Angeles to open the new Santa Monica Museum of Art. Since then Müller works as a sculptor in Düsseldorf, Germany and Los Angeles, California. His work has been shown in France, Germany, the Netherlands, the United States, and Mexico.
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Manfred MullerBlue Prelude #6, 2021Oil paint on Felt Paper26.5 x 11 x 3$ 8,500.00
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Manfred MullerBlue Prelude #1, 2021Oil paint on Felt Paper18 x 11.5 x 2.5 inches$ 6,500.00
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For any inquiries please email sophi@rosegallery.net or give us a call at 310.264.8440. As always, we love to hear from you!
