1977 M.F.A. - University of California, Los Angeles
1974 B.A. - University of California, Los Angeles

1996 Brent Gallery, Houston, Texas
1994 Espace Parallele, Brussels, Belgium
1994 Moving Space Gallery, Ghent, Belgium (catalog)
1994 domestic setting, Los Angeles, CA
1992 Moving Space Gallery, Ghent, Belgium (catalog)
1991 Gallery Indeco, Seoul, Korea
1991 Espace Parallele, Brussels, Belgium
1990 Market Street Gallery, Venice, CA
1990 Galerija Equrna, Ljubljana, Yugoslavia
1989 Lasorda/Iri Gallery, Los Angeles, CA
1988 Galerie Wolf, Düsseldorf, West Germany
1988 Galerija Equrna, Ljubljana, Yugoslavia
1986 Pimlico Gallery, London, England
1986 Rio Hondo College Art Gallery, Whittier, CA
1977 UCLA Frederick S. Wight Gallery, Thesis Exhibition

1999 University Art Gallery of California State Polytechnic University, Pomona
1999 “Ink & Clay” Newspace Gallery, Los Angeles CA at the Frankfurt Art Fair, Germany
1998 Espace Parallele, Brussels, Belgium. “Dessin”
1998 Galerie Burgi, Ghent, Belgium. “Feetsalon”
1998 BGH Gallery, Santa Monica, CA. “Winter Group Show”
1997 Brent Gallery, Houston, Texas. “Curiosity”
1997 Moving Space Gallery, Ghent, Belgium. “E-Motion” (catalog)
1997 De Kortrijkse Shouwburg, Belgium. “Le Chemin”
1997 Gallery LASCA, Los Angeles, CA. “Drawings”
1996 Museum Van Bommel Van Dam, Venlo, Netherlands. “Beeldding 96” (catalog
Historische Stadshallen van Brugge, Belgium. “Project Beeldding Plaats”
1996 Post Gallery, Los Angeles, CA. “The $100 Show”
1996 Gallery 865 Figueroa, Los Angeles, CA. “Prints 96”
1996 Eindhoven, Netherlands. “De Huid Van De Witte Dame”
1996 Galleria Crossing, Portogruaro, Italy
1996 Espace Parallele, Brussels, Belgium
1995 Moving Space Gallery, Ghent, Belgium. “Small Works”
1995 Boritzer-Gray-Hamano, Santa Monica, CA. “LA Works on Paper, 95”
1994 Cleveland Center of Contemporary Art, Cleveland, Ohio. “Turning Silver into Gold”
1994 Espace Parallele, Brussels, Belgium
1994 Galerie R. Werle, Strasbourg, France
1993 domestic setting at the Project Box, Los Angeles, CA
1993 4U Galerie, Bruck An Der Mur, Austria. “Bruck Meets L.A.”
1993 Post Gallery, Los Angeles, CA. “The $100 Show”
1993 Galerie Damasquine, Brussels, Belgium
1993 Espace Parallele, Brussels, Belgium
1993 1529 Wellesly Ave. Los Angeles, CA. “Just A White Show”
1993 Moving Space Gallery, Ghent, Belgium. “A from Alfabet”
1993 Nina Frost Gallery, Santa Monica, CA. “Natural Perception”
1992 Moving Space Gallery, Ghent, Belgium. “Thema Object” (catalog)
1992 Galerie Wolf, Düsseldorf, Germany
1991 Galerie Wim Vromans, Amsterdam, Netherlands
1991 Moving Space Gallery, Ghent, Belgium. “About Perception” (catalog)
1991 Moving Space Gallery, Ghent, Belgium - Line Art
1991 Espace Parallele, Brussels, Belgium
1990 American Cultural Center, Taipei, Taiwan. “ 5 LA Artists”
1989 Galerie Lopes, Zurich, Switzerland,.“Werke Auf Papier”
1988 Maloney Gallery, Santa Morica, CA
1988 Lasorda/Iri Gallery, Los Angeles, CA. “Not Your Typical Landscape Show”
1987 Rio Hondo College Art Gallery, Whittier, CA. “Reduced Scale”
1985 Eilat Gordin Gallery, Los Angeles, CA. “Ambivalent Images”
1984 L.A. Artcore Gallery, Los Angeles, CA. “Wallworks”

Essay from the Catalogue “Gary Paller Paintings 4/4/92 - 5/3/92”
Moving Space Gallery Ghent, Belgium

Since man attempts to find a (scientific, mathematic, philosophic) answer to the great mystery of cosmic origin, he is only deepening it , as he persists in widening his knowledge, while proceeding only in a rational way.
The mystics, on the contrary, who consider mystery as an integral part of an informal whole...dedicate themselves to enclosing it in occult imagery.
The common denominator of these determinisms is their wish to explain things.
The “Indefinite” aspect - the infinite and the indefinable - of Gary Paller's canvases, certainly refers to these questionings, but his works fit into a conception which is completely unfamiliar with the very idea of a finality.
On the other hand, no link can be established between the content of his works and a belief in a higher force - since believing is neither knowing nor experiencing.
And yet, Gary Paller conveys a universal interrogation, therefore a (tangible or omnipresent) diffuse anxiety - while refusing the ease of the account and/or the illustration of a concept.
In a certain sense (but this is also only an aspect) painting becomes the principal element of the painting. It is the very basis of the only language capable of raising the existential problem (or the existence problems...) at a level which exceeds the anxieties, to structure itself around the pure sensibility.
If, in the logical process, matter somehow becomes the language, color indissociably assumes the same importance.
And here we enter the universe of universes of Gary Paller. The shades attract and/or reject one another, they may draw closer or separate themselves even further, they are at the same time side by side or light years apart. One point must be made: here it is that the light which penetrates, infiltrates the canvases, gives rhythm to the hours...
In a first, visual confrontation, the forms may boil down to an oval, the fragments of which are dispersed to the point of leaving the frame, the format, the visual field...
“Planets” which have their own sidereal life in the surface of the canvases, although they are linked to centre/heart - the painting always being the absolute entity, in short, the core.
In each work we will find these incessant and subtle variations, these transformations which, on paper create a rotary motion when the successions speed up.
If Gary Paller - at the four corners and cardinal points of his creations (invisibly crossed by horizontal and vertical trajectories in their construction) proposes a different comprehension of the world to us, he does not make use of explosions but rather of fundamentally human associations. Man is included in these dimensions, even if he fails to grasp them...
The artist evokes and/or underlines the incessant, immeasurable and piercing meeting between the divergences and the joinings - that which separates and that which fuses.
Thus, the depth of the painting-mater, - between tensions and serenity-, sometimes transforms itself into “hollows”.
We no longer perceive the “relief” as being directed towards the exterior, but as a penetration into the unknown.
The atmosphere (the one which firstly emanates from the works, or the one which unites with the air layer around the earth globe) thus reverberates in the field of resonance and vibrations.
This accounts for the fascination exerted by these paintings via - amongst other things - a certain deferment between the projection into space and that which comes back (echo).
Pendulum between evidence and doubt, clarity and obscurity...
To pierce the secret of things - while veiling the interferences of his life in his work - Gary Paller reaches the interior of this secret (painting-painting/form into form/colors-shades etc.)
His titles, therefore are riddles, their necessity being another one - we return to these extremes which complement one another.
The trajectories become all the more complex since the aestheticism is no longer a longing, but the longing - as such - corresponds to an urge for beauty in the very rigorous expression of the perspectives for continuation. Nothing is finished and/or determined.
A strong breath - very calm in appearance - sweeps across the canvases.
The surfaces are full, the climates differ.That which emanates from the supports exceeds them - all informs us about all. Gary Paller conveys the star and the soul - or, more precisely, the star which resides in his soul.

Madeleine Van Oudenhove
A.I.C.A.

www Gary Paller

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