Lutz-Kinoy’s 2014 installation at Freedman Fitzpatrick was also immersive in its own way. Canvases covered all the walls, and video projections played out across loosely rendered flowers, blocks of color, and floating figures. But that show still felt like a painting show, and the semi-abstraction seemed aligned with the post-Internet neo-formalism that was on trend. In this current show, the paintings swallow you, and everything feels so specific to the gallery space that it’s hard to imagine the work having a life anywhere else.
This straightforwardness does not disappoint, however. Consider other installations that involve shoe removal, such as James Turrell’s “Ganzfelds” or the video by artist Jesse Fleming currently looping in a Santa Monica meditation studio. These command a certain reverence and quiet. Lutz-Kinoy’s installation does not. Nor is there much of the apocalyptic sense associated with other builders of ad-hoc environments, such as Debo Eilers or Agathe Snow. Lutz-Kinoy’s slightly unkempt, somewhat domestic, borderline nonsensical fantasy space is all embracing. Once you’re in, all that is required is willing engagement.