https://badwater.gallery Bad Water Fri, 04 Feb 2022 14:58:24 +0000 https://badwater.gallery en https://badwater.gallery/Angelique-Heidler Fri, 04 Feb 2022 14:58:22 +0000 Bad Water https://badwater.gallery/Angelique-Heidler <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/295f5e1e3e98c3dbff923ec04cc8827339dc05fe4c11c9abda103e4af8e5dcc5/02_web.jpg" data-mid="132499976" border="0" src="https://freight.cargo.site/w/1000/i/295f5e1e3e98c3dbff923ec04cc8827339dc05fe4c11c9abda103e4af8e5dcc5/02_web.jpg" />Piselli, Installation View <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/3ccf21e279322ce1927e66e9176ed4a9233c3ba8c40d9d4bbf28dcf3296d344a/01_web.jpg" data-mid="132499977" border="0" src="https://freight.cargo.site/w/1000/i/3ccf21e279322ce1927e66e9176ed4a9233c3ba8c40d9d4bbf28dcf3296d344a/01_web.jpg" />Piselli, Installation View <img width="2400" height="1598" width_o="2400" height_o="1598" data-src="https://freight.cargo.site/t/original/i/0a03929140f9d32b9ac3038e7a5c43c5fb9f13de242a613b9a21683bb52c53a5/03_web.jpg" data-mid="132499983" border="0" src="https://freight.cargo.site/w/1000/i/0a03929140f9d32b9ac3038e7a5c43c5fb9f13de242a613b9a21683bb52c53a5/03_web.jpg" />Piselli, Installation View <img width="1634" height="2400" width_o="1634" height_o="2400" data-src="https://freight.cargo.site/t/original/i/af65b0a9c916c26ccd9d80ac4015d623dcc444a8ea09c222066f77f160c3aa8b/05_web.jpg" data-mid="132499984" border="0" src="https://freight.cargo.site/w/1000/i/af65b0a9c916c26ccd9d80ac4015d623dcc444a8ea09c222066f77f160c3aa8b/05_web.jpg" /> Smoke, 2020, charcoal, collage, patch and sewn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm <img width="1603" height="2400" width_o="1603" height_o="2400" data-src="https://freight.cargo.site/t/original/i/08a8dccc610ee82a034a76571ba6c46bd5a13e9977a440999b25a1b88b4dbbbd/06_web.jpg" data-mid="132499981" border="0" src="https://freight.cargo.site/w/1000/i/08a8dccc610ee82a034a76571ba6c46bd5a13e9977a440999b25a1b88b4dbbbd/06_web.jpg" />Honey Tramonto, 2020, acrylic, collage, gold&nbsp;plated&nbsp;metal&nbsp;pieces&nbsp;and&nbsp;sewn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm <img width="1653" height="2400" width_o="1653" height_o="2400" data-src="https://freight.cargo.site/t/original/i/9012dec98753d22c21cdcd7afdd9e6005f7926bbe8dc68be6263d0544e832c30/08_web.jpg" data-mid="132499978" border="0" src="https://freight.cargo.site/w/1000/i/9012dec98753d22c21cdcd7afdd9e6005f7926bbe8dc68be6263d0544e832c30/08_web.jpg" />Triangle Amoureux, 2020, acrylic, charcoal, oil,&nbsp;Swarovski&nbsp;crystal&nbsp;sheet,&nbsp;collage&nbsp;and&nbsp;sewn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm <img width="1664" height="2400" width_o="1664" height_o="2400" data-src="https://freight.cargo.site/t/original/i/a02b77a6b306aa50c49b7a17f49b43e5feb089a4fee78d09b668fd89f1376e4a/09_web.jpg" data-mid="132499979" border="0" src="https://freight.cargo.site/w/1000/i/a02b77a6b306aa50c49b7a17f49b43e5feb089a4fee78d09b668fd89f1376e4a/09_web.jpg" />Bible, 2020, acrylic, oil bar,collage, silver plated&nbsp;metal&nbsp;flower,&nbsp;Swarovski&nbsp;crystal,&nbsp;and&nbsp;sewn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm <img width="1629" height="2400" width_o="1629" height_o="2400" data-src="https://freight.cargo.site/t/original/i/5cc64b80617bbec0f24d620886e1cca6c30b9546e422215d2fbeb1a701b3f110/07_web.jpg" data-mid="132499985" border="0" src="https://freight.cargo.site/w/1000/i/5cc64b80617bbec0f24d620886e1cca6c30b9546e422215d2fbeb1a701b3f110/07_web.jpg" />Weena, 2020, acrylic, stickers and&nbsp;sewn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm <img width="1664" height="2400" width_o="1664" height_o="2400" data-src="https://freight.cargo.site/t/original/i/c2ce5dea28299ed5a653efb8cdbccd79891df0a0a0c8eef7271433fac25d5b13/04_web.jpg" data-mid="132499982" border="0" src="https://freight.cargo.site/w/1000/i/c2ce5dea28299ed5a653efb8cdbccd79891df0a0a0c8eef7271433fac25d5b13/04_web.jpg" />True Romance, 2020, acrylic, collage, fabrics&nbsp;and&nbsp;sewn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm <img width="1664" height="2400" width_o="1664" height_o="2400" data-src="https://freight.cargo.site/t/original/i/511c2afa8ec8311902457da26574e36ae6c48630e5dc78a4a4d2f19602591c81/010_web.jpg" data-mid="132499980" border="0" src="https://freight.cargo.site/w/1000/i/511c2afa8ec8311902457da26574e36ae6c48630e5dc78a4a4d2f19602591c81/010_web.jpg" />Koka Kola, 2020, acrylic, collage and&nbsp;sawn&nbsp;sublimation&nbsp;print&nbsp;on&nbsp;fabric,&nbsp;50&nbsp;cm&nbsp;x&nbsp;40&nbsp;cm Arrhythmia&nbsp; (for Angelique) 01/10/21Hello, my body is giving me a profound troublethe electrical impulses governing my heart rate have gone haywireand the repercussions are monumental my palpitations are abnormal, resulting in a set of circumstances my doctor says are entirely newsays I’m lucky to champion a new frontier of feeling 02/10/21 the situation is developing the birds around me seem to sing my nameflying by in a cosine wave, they emulate my arrhythmia they tell me congratulations,that I’ve won a genetic lottery, and I suspect they’re terribly right03/10/21 I’m emitting all sorts of sounds and vibrationsthey echo across my windowless walls, hop-scotching across each spot in the wallpaper above me, the moon ripensI know this not because I can see it, but because she told me so 04/10/21 all day, i’ve been caught in a feverpanting and sweating through synthetic sheets,my colour perception is playing tricks I’m red, I’m purple, I’m fucking orange but most of all, I believe I’m bluebecause my veins are boilingcooking me slowly from the inside out until tender like a crockpot stew I’d burn your tongue but still be worth it05/10/21 nobody plans their fall from the skya pierced wing, wildfire, a failed engine,the fall is beyond divination a fold to gravity on the floor, a million women smile down at mewith sharpened teeth, i’m quivering in my cocoon06/10/2021I wake up and I’m aliveI’m on zoom, but I’m muted(maintaining my legacy)for the first time in days I twist the doorknobto inhale a gust of cool windmy lungs collapse and the spell is broken07/10/21the emissions have subsided and my vision is clearI’m rinsing my hair with vinegar hoping to impressmy appetite is coming back&nbsp; i’m out for blood and green peas — text by Danica Pinteric Attraction and repulsion, innocence and violence, obsession and indifference; in her new body of work, Paris-born artist Angélique Heidler investigates the paradoxical dualities embedded within mainstream depictions of both femininity and romance. In her signature style of adorning the painted canvas with personal objects and images through collage and sublimation printing techniques, Heidler brings together these contrasting forces, highlighting their hybridity through a series of playful compositions. Touching on themes of childlike fantasy, consumption, and indulgence, Heidler’s wide scope of aesthetic reference speaks to the highly nuanced construction of gender and the self through late-captialism’s endless horizon of media representation and branded products. The exhibition’s title, Piselli, represents Heidler’s tongue-in-cheek humour well, simultaneously referring to the Italian word for green peas as well as children’s slang for male genitalia. The accompanying text, Arrhythmia (for Angelique), intuitively tethers the conceptual and figurative themes in Piselli, told through a fictional sequence of narrative journal entries—a formal approach inspired by the early-2000s diary of a young girl found tucked away in the gallery space, abandoned by its previous owner. Piselli is Heidler’s first solo exhibition in the United States. Angélique Heidler is a French painter born in 1992, she lives and works in Paris. She graduated from the Slade School of Fine Arts, London, in 2015. Her intuitive practice questions societies’ issues though its existing imagery and fragments. She aims to highlight the absurd and marginal by collaging her paintings with stereotypes. Her work has been shown in France and internationally, in solo and collective exhibitions such as : Haus Wien, Ginny on Frederick, Vienna, 2021; Masterless Eye, Yudik One, Brescia, 2021; Your Friends and Neighbors, Hight Art, Paris, 2020; Softview/Privatissime, Neuer Essener Kunstverein, Essen, 2020; Stay Safe, Shivers Only, Chantemanche, 2020; This Tragedy, Fonda, Leipzig, 2020; BAITBALL (01), Palazzo San Guiseppe, Polignano A Mare, 2020; solo presentation, Shivers Only, Material Art Fair, Mexico City, 2020; Heidler Mailaender, Galerie Derouillon, Paris, 2019; On ne sait plus quoi penser du serpent qui a peur, Galerie l’Inlassable, Paris, 2019; Outside Our, Villa Emerige, Paris, 2018; The Unlimited Dream Company, Hannah Barry Gallery, London, 2017; The Dark Ages, Supplement Gallery, London, 2017. She was a resident at Plop (UK, 2019), LaWayaka Current (PA, 2016), Villa Lena (IT, 2016) and is currently a resident at Stadtgalerie Bern, (CH, 2021). She was shortlisted for the 5th edition of the Révélations Emerige award (FR, 2018). https://badwater.gallery/Natalie-Smith Fri, 04 Feb 2022 14:58:22 +0000 Bad Water https://badwater.gallery/Natalie-Smith <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/fd7b7103241a61e2a246ea4c57b3b80ad33407771956fc5e79f6bc01d0a7c009/01_web.jpg" data-mid="132500058" border="0" src="https://freight.cargo.site/w/1000/i/fd7b7103241a61e2a246ea4c57b3b80ad33407771956fc5e79f6bc01d0a7c009/01_web.jpg" /> Nothing Within or Without, installation view <img width="2400" height="1554" width_o="2400" height_o="1554" data-src="https://freight.cargo.site/t/original/i/f4d08b6b97f369ffcfeda5a06be73d300141b1e597e37258f6fda18178a6eab3/02_web.jpg" data-mid="132500060" border="0" src="https://freight.cargo.site/w/1000/i/f4d08b6b97f369ffcfeda5a06be73d300141b1e597e37258f6fda18178a6eab3/02_web.jpg" />Nothing Within or Without, installation view <img width="2400" height="1417" width_o="2400" height_o="1417" data-src="https://freight.cargo.site/t/original/i/51fdc94bc63a761396fa4af5083729e33f485f11d779862c261437faf22f93b8/03_web.jpg" data-mid="132500062" border="0" src="https://freight.cargo.site/w/1000/i/51fdc94bc63a761396fa4af5083729e33f485f11d779862c261437faf22f93b8/03_web.jpg" />Nothing Within or Without, installation view<img width="1605" height="2400" width_o="1605" height_o="2400" data-src="https://freight.cargo.site/t/original/i/a449895a4a68ba9d9e4a691d3f8d658073dce1af05291611079796fd593fc917/07_web.jpg" data-mid="132500066" border="0" src="https://freight.cargo.site/w/1000/i/a449895a4a68ba9d9e4a691d3f8d658073dce1af05291611079796fd593fc917/07_web.jpg" />Nothing Within or Without, detail image <img width="1710" height="2319" width_o="1710" height_o="2319" data-src="https://freight.cargo.site/t/original/i/120385f7af63f4262ae5069155725a0ade8443e611cf8f59af5bdf60a2839da5/09_web.jpg" data-mid="132500065" border="0" src="https://freight.cargo.site/w/1000/i/120385f7af63f4262ae5069155725a0ade8443e611cf8f59af5bdf60a2839da5/09_web.jpg" /> Nothing Within or Without, detail image <img width="1845" height="2400" width_o="1845" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b05e538f2ab25c7e76cb66c6308bc2c8ea1c7237159069f41efa77a037f8d1db/010_web.jpg" data-mid="132500059" border="0" src="https://freight.cargo.site/w/1000/i/b05e538f2ab25c7e76cb66c6308bc2c8ea1c7237159069f41efa77a037f8d1db/010_web.jpg" />Nothing Within or Without, detail image <img width="2400" height="1596" width_o="2400" height_o="1596" data-src="https://freight.cargo.site/t/original/i/8f7620983f9c439577f2798fec13b12bf63f1b3cfeb199d7de144996b4859c5e/05_web.jpg" data-mid="132500061" border="0" src="https://freight.cargo.site/w/1000/i/8f7620983f9c439577f2798fec13b12bf63f1b3cfeb199d7de144996b4859c5e/05_web.jpg" /> Nothing Within or Without, detail image <img width="2400" height="1595" width_o="2400" height_o="1595" data-src="https://freight.cargo.site/t/original/i/36650cc8563141915f530aa0ede91de43e9afd2d3303067fb79ae7c49e6a4033/06_web.jpg" data-mid="132500063" border="0" src="https://freight.cargo.site/w/1000/i/36650cc8563141915f530aa0ede91de43e9afd2d3303067fb79ae7c49e6a4033/06_web.jpg" />Nothing Within or Without, detail image <img width="1174" height="1619" width_o="1174" height_o="1619" data-src="https://freight.cargo.site/t/original/i/ae1d940dccadba9b27f2cd8a47246967959509a7eb26373ddc10f4cab5c3472b/011_web.jpg" data-mid="132500064" border="0" src="https://freight.cargo.site/w/1000/i/ae1d940dccadba9b27f2cd8a47246967959509a7eb26373ddc10f4cab5c3472b/011_web.jpg" /> Nothing Within or Without, detail image Natalie SmithNothing Within or Without August 13- September 14, 2021 What, exactly was the beginning? I have been having the sense that I must go back there before I can go forward. I must understand the very seed of creation to understand this destruction. And we don’t have a moment to waste. And so I present to you in haste, a room of kisses. In 1927, the Dutch Jesuit mathematician and astrophysicist Georges Lemaître determined what the ancient sages, mystics, and knowers had already been wailing from the stone tablets and papyri for millennia, that an expanding universe could be traced to a single point of origin: the “primeval atom”. And what of this moment, the empyrean beginning ?And what of its smallness and what of its greatness ?Despite popular terminology, it wasn’t big, and there was no bang. And what of this moment that was not seen?And what of this vision that could not see for itself?If it ever existed at all: only as a particle, as essence, as feeling? Having to think with my eyes so much has made me wonder about optics and tricks and our most coyote sense, our sense of seeing. Funny thing to be a painter and not want to trick the eyes It’s a very funny thing actuallyIt is what we call: going against the grain. Because vision, in its most impure states, can be sick and can be distorted, like all of the terrible angels. Vision can see a planet covered in concrete for the sole purpose of domination and conquering. Vision can make a whole history full of paintings that advertise bodies and goods for sale. Vision turned art into a sixty four billion dollar marketplace. Vision transforms our purest states-desire and pain-into contorted murderous rage for our fellow man. But vision can also be perfect, which is exactly why we love our vision so much. It can be completely perfect. Lygia Clark and Iris Murdoch said it and many others too I'm sure: our vision is not only optical. This is something I care deeply about but as a painter it puts me into a strange relationship with a medium that has been understood for at least centuries to be presenting not only tricks but also something to the eyes and the eyes alone. But the eyes are never alone.Like the Eye of Fatima, vision emanating from a slit though her palm, we cannot escape the eye of consciousness because it is us.Our vision is us and our eyes are never alone. One Buddist teacher says to another: The problem is not desire. It is that your desires are too small. The canvas will bend and curl&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp;&nbsp; There is the moon The boards will stay fixed&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;There is the sun No subject&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; No figureNo object&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; No ground During the fertile week of ovulation, the cervix softens and feels like lips. They took a bite of an apple but let's be real They kissed. I paid a lot of attention to the princesses when I was a young child. Their hair happened to look like mine in those Grimms books and I saw what happened Oh how the frog was utterly transformed Oh how I saw it so clearly. I care about these things like I care about the medium too. I have stood by it all of these years afterall. Calling myself a painter come hell and high water and I assure you it has been both. And I don't plan on stopping anytime soon.The medium being the color, the mark. The medium also being the canvas, the surface. And the third thing too: Like the table covered in white linen on which the palm reader holds your hand in theirs, The Medium being the space of transference. The space of perfect vision. In Spain, France, Indonesia and surely elsewhere, the mark of the hand has been found on the cave walls. Forty thousand years old or more. Because before there was art there was painting and before there was painting there was the imprint. And so I present to you the mark and the surface As simple and pure as I can imagine here for you now. I have no more time for knowledge of any other kind and the Earth she is telling us that she doesn't either, have time. The beginning of all creation I will give it all away. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; -Natalie Smith, 2021 As a child we learn that the hand can be used to make a painting. As a teenager, in whispers, we are told the hand can be used to learn how to kiss. Pointer finger and thumb curl into the promise of a pair of lips. In ‘Nothing Within or Without’ , Natalie Smith demonstrates that the lips can make a mark in the same way we understand a hand can make a painting. Unstretched canvas paintings line the gridded board and batten supports of the gallery. Their surface marked with a simple gesture-- the kiss. Each rosy impression holds the deeply intimate questioning, physical labor and relationship, and intrinsic desire to connect. She tells me “this is why we do what we do”. Opening the heart, the mind and the body of the viewer to the gallery as a thoroughly affective space, with the potential to inform the viewers emotional understanding and perception of the world around them. Natalie Smith lives and works in Los Angeles, CA. Her practice uses drawing and sculpture to confront how beauty and pleasure, ambiguity and bewilderment are necessary to our survival. Recent projects include the online platform Gondola.link, Real Pain Fine Arts, and Kate's Little Angel in Los Angeles. Her work has also been included in group exhibitions at U’s in Calgary and in a public art project with the Santa Monica Mountains National Recreation Area. She received her BFA from the University of Illinois and MFA from The University of New Mexico. https://badwater.gallery/Celia-Lesh-Esther-Sibiude Fri, 04 Feb 2022 14:58:23 +0000 Bad Water https://badwater.gallery/Celia-Lesh-Esther-Sibiude <img width="2400" height="1586" width_o="2400" height_o="1586" data-src="https://freight.cargo.site/t/original/i/e10fb41348840db9c39989a777db3a57936974f08ae97097d5b5836105ec89bf/08_web.jpg" data-mid="132500234" border="0" src="https://freight.cargo.site/w/1000/i/e10fb41348840db9c39989a777db3a57936974f08ae97097d5b5836105ec89bf/08_web.jpg" />A Hole Filled With Noise, installation view <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/32f9435fced57b0fb5923d7a2ddd0b5743eac11a578a6772f36b5f32df37aaa0/04_web.jpg" data-mid="132500228" border="0" src="https://freight.cargo.site/w/1000/i/32f9435fced57b0fb5923d7a2ddd0b5743eac11a578a6772f36b5f32df37aaa0/04_web.jpg" />Celia Lesh, Untitled, 2021, wax, clay, wire, beads <img width="2400" height="1718" width_o="2400" height_o="1718" data-src="https://freight.cargo.site/t/original/i/aa956e92f94cea8dbef241862aa5ab6fc8420ac1624f439f88e0a363995b7792/02_web_sized.jpg" data-mid="132500229" border="0" src="https://freight.cargo.site/w/1000/i/aa956e92f94cea8dbef241862aa5ab6fc8420ac1624f439f88e0a363995b7792/02_web_sized.jpg" />Esther Sibiude, Cellular Reverie, 2020, colored pencil on paper, 23”x29” <img width="2400" height="1617" width_o="2400" height_o="1617" data-src="https://freight.cargo.site/t/original/i/e34068703ea8e462c67d7b2c4c23d9691af4d3e2268e9a995a12d6ad2f379ab6/011_web.jpg" data-mid="132500226" border="0" src="https://freight.cargo.site/w/1000/i/e34068703ea8e462c67d7b2c4c23d9691af4d3e2268e9a995a12d6ad2f379ab6/011_web.jpg" />Esther Sibiude, We Are Inseparable, 2020, colored pencil on paper, 23”x29” <img width="2400" height="1679" width_o="2400" height_o="1679" data-src="https://freight.cargo.site/t/original/i/8ebdf30dc00d338062baa1c8985c9d5b6e22561cfc3da06bb2756b5b46f6e241/06_web.jpg" data-mid="132500227" border="0" src="https://freight.cargo.site/w/1000/i/8ebdf30dc00d338062baa1c8985c9d5b6e22561cfc3da06bb2756b5b46f6e241/06_web.jpg" />Celia Lesh, I gave you everything I have, 2019, polymer clay, ink <img width="2400" height="1619" width_o="2400" height_o="1619" data-src="https://freight.cargo.site/t/original/i/0113f6e71daa4024eb669c91adcd9c8c2ff3926644c5dc11bf6e97c5f196f4a6/07_web.jpg" data-mid="132500233" border="0" src="https://freight.cargo.site/w/1000/i/0113f6e71daa4024eb669c91adcd9c8c2ff3926644c5dc11bf6e97c5f196f4a6/07_web.jpg" />Celia Lesh, I gave you everything I have, detail <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/74c7f08ae5166215dda0066b17cdbdad01af3451797e27c30f8d8773193d7f75/05_web.jpg" data-mid="132500225" border="0" src="https://freight.cargo.site/w/1000/i/74c7f08ae5166215dda0066b17cdbdad01af3451797e27c30f8d8773193d7f75/05_web.jpg" />Esther Sibiude, Untitled, 2021, colored pencil on paper, 9”x12” <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/3aefee13eddce9fe88f7ba2a3c72562ad64ea8ec820ee4628bec047578331b9f/012_web.jpg" data-mid="132500231" border="0" src="https://freight.cargo.site/w/1000/i/3aefee13eddce9fe88f7ba2a3c72562ad64ea8ec820ee4628bec047578331b9f/012_web.jpg" />Celia Lesh, Untitled (Tod’s driving shoes), 2021, found shoes, wax, sawdust, silk, twigs, beads, wood glue, paper, wire, flour, clay, pearls <img width="2400" height="1594" width_o="2400" height_o="1594" data-src="https://freight.cargo.site/t/original/i/a3c7093e9ed72054b39a405badebba11f73d747bd3469d744a571b0155caecf8/010_web.jpg" data-mid="132500232" border="0" src="https://freight.cargo.site/w/1000/i/a3c7093e9ed72054b39a405badebba11f73d747bd3469d744a571b0155caecf8/010_web.jpg" />Celia Lesh, Untitled (surveillance stomachs), 2017-2020, found objects, cotton, polyester, thread, cord, corn, ink, wax<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/7ab28e376ee76b1abbaaa27b5a6383fccc6aa6bd0bfc6521fc05604529beb983/013_web_20.jpg" data-mid="132500224" border="0" src="https://freight.cargo.site/w/1000/i/7ab28e376ee76b1abbaaa27b5a6383fccc6aa6bd0bfc6521fc05604529beb983/013_web_20.jpg" />Esther Sibiude, Short dates and long rides without distance, 2019, colored pencil on paper, 23”x29” <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/22ac953a30cb3a334b31966f463007fbb7b83d63cfd849c8c9f34c3de0330aeb/014_web.jpg" data-mid="132500230" border="0" src="https://freight.cargo.site/w/1000/i/22ac953a30cb3a334b31966f463007fbb7b83d63cfd849c8c9f34c3de0330aeb/014_web.jpg" />A Hole Filled With Noise, installation view A Hole Filled with NoiseCelia Lesh + Esther Sibiudecurated by Colleen BillingJuly 2- August 1, 2021Opening Reception July 2 7:00-9:30pm we woke up in a sweat from a dream spent undergroundthe caverns we traversed were lined with pearls, or maybe they were popcorn kernelseverything glimmers from way down lowshiny, glittery soil air isn't empty we touch it and it touches back a particle of dust turns into a universe if you look at it the right waymolecules have mood swings too below the center of our collective gravity, we felt soggyperhaps we were thirsty - sensory stimuli piercing through the barrier of REMhumidity makes for moisture and this wetness became a comfort for us all together we made a puddle, or maybe it was a portalwe drew a circle around the empty spacea good way to exit reality is to gaze at it from far awaya good way to get out of your body is to get into another we dipped a toe into the static we took ourselves off, exposed nervous systems and pink particulate matter the highway above us makes a lullaby - it's an artery but it sounds like the oceancurrents of electricity and radio drama fluctuating along with our own sensitivity and rangetime feels slow and elusive when inside and outside synchronize and the boundaries between them are easy to confuse one eyelash at a time, we opened eyes, put ourselves back on, woke up from the hole we filled with noise. The practices of Celia Lesh and Esther Sibiude span disciplines of sculpture, drawing, writing, and music. Although their works are decidedly distinct from one another, they share an affective tenor and intuitive mode of making that honors slowness and emotionality. Esther’s drawings fluctuate between cosmic landscapes and microscopic biologies. Wisps and lines are trusted to wander, swirling in and out of reality. In some, narrative peeks through. In others, the non-drawn space, the paper and the air trapped in the frame, become equally important to the drawn. Celia makes sculptures, often from her bedroom studio. Her techniques range from sewing and soldering to chewing and mushing, arranging and re-arranging. She combines found objects with meticulous methods of adornment. The resulting works vibrate between lightness and weight, embodying the psychological. In situ, they operate like constellations, bound to one another by the heavy space in between. Celia Lesh is an artist living and working between New York and California.Esther Sibiude is an artist and harpist living and working in New York.Colleen Billing is an artist living and working in New York. https://badwater.gallery/E-Saffronia-Downing Fri, 04 Feb 2022 14:58:23 +0000 Bad Water https://badwater.gallery/E-Saffronia-Downing <img width="2400" height="1657" width_o="2400" height_o="1657" data-src="https://freight.cargo.site/t/original/i/a4e023e76a6098341bd7015100cb3625612e8c3365b01c2a049dd05158cd6ad8/01_Web.jpg" data-mid="132500818" border="0" src="https://freight.cargo.site/w/1000/i/a4e023e76a6098341bd7015100cb3625612e8c3365b01c2a049dd05158cd6ad8/01_Web.jpg" /> Field Dug Over, installation view Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="2400" height="1656" width_o="2400" height_o="1656" data-src="https://freight.cargo.site/t/original/i/54799f17e81b31fc67346cce19ff7314d2e325cb78e7da5353985c2087cf2fd2/02_Web.jpg" data-mid="132500812" border="0" src="https://freight.cargo.site/w/1000/i/54799f17e81b31fc67346cce19ff7314d2e325cb78e7da5353985c2087cf2fd2/02_Web.jpg" /> Field Dug Over, installation view Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/121b2fc6a9851ca4099315ec23c28315101814f249420dd920e81c7fa3e5fe2a/07_Web.jpg" data-mid="132500816" border="0" src="https://freight.cargo.site/w/1000/i/121b2fc6a9851ca4099315ec23c28315101814f249420dd920e81c7fa3e5fe2a/07_Web.jpg" /> Field Dug Over, detail &nbsp;Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/8b436ccd47c6d86eb51026307a1d24af3b66c36ecf01f18bb5804e5a6ac80e96/010_Web.jpg" data-mid="132500809" border="0" src="https://freight.cargo.site/w/1000/i/8b436ccd47c6d86eb51026307a1d24af3b66c36ecf01f18bb5804e5a6ac80e96/010_Web.jpg" /> Field Dug Over, detail Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="2400" height="1615" width_o="2400" height_o="1615" data-src="https://freight.cargo.site/t/original/i/32f64dbe5d51e796896ae97b595b5e128582e79d9e36b6a09d515e8d9c59209c/09_Web.jpg" data-mid="132500808" border="0" src="https://freight.cargo.site/w/1000/i/32f64dbe5d51e796896ae97b595b5e128582e79d9e36b6a09d515e8d9c59209c/09_Web.jpg" /> Field Dug Over, detail Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="2400" height="1586" width_o="2400" height_o="1586" data-src="https://freight.cargo.site/t/original/i/ff82ca1f1703e696fe8dd0cd89946fe0a7f7a5f8c0b2d4b10b9fb9c95b61d386/08_Web.jpg" data-mid="132500817" border="0" src="https://freight.cargo.site/w/1000/i/ff82ca1f1703e696fe8dd0cd89946fe0a7f7a5f8c0b2d4b10b9fb9c95b61d386/08_Web.jpg" /> Field Dug Over, detail &nbsp;Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b276b866d0d075845352832a074b67b95a5a986f9fed8177a52fdf299b82e461/011_web.jpg" data-mid="132500813" border="0" src="https://freight.cargo.site/w/1000/i/b276b866d0d075845352832a074b67b95a5a986f9fed8177a52fdf299b82e461/011_web.jpg" /> Field Dug Over, detail &nbsp;Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/efcd358787060ba089f26b3668cb2a0124cdc3088fe0fedb7322cf837d21ee7a/015_web.jpg" data-mid="132500815" border="0" src="https://freight.cargo.site/w/1000/i/efcd358787060ba089f26b3668cb2a0124cdc3088fe0fedb7322cf837d21ee7a/015_web.jpg" /> Field Dug Over, detail &nbsp;Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/6207b46f7a6940b90eba15f93e85334407c2137d551b5261bfbc0ee0b3300bf0/012_web.jpg" data-mid="132500810" border="0" src="https://freight.cargo.site/w/1000/i/6207b46f7a6940b90eba15f93e85334407c2137d551b5261bfbc0ee0b3300bf0/012_web.jpg" /> Field Dug Over, detail &nbsp;Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville <img width="2400" height="1633" width_o="2400" height_o="1633" data-src="https://freight.cargo.site/t/original/i/e6f8ee84f7d320f2145f24bbc9ae03711e31b5e14a19330ae8140862bcf39d85/04_Web.jpg" data-mid="132500811" border="0" src="https://freight.cargo.site/w/1000/i/e6f8ee84f7d320f2145f24bbc9ae03711e31b5e14a19330ae8140862bcf39d85/04_Web.jpg" /> Field Dug Over, installation view Stoneware, porcelain, glaze, glass, stones, soil, ceramic decal, earthenware foraged from Chicago, Sheffield, and Knoxville E. Saffronia DowningField Dug OverMay 21- June&nbsp; 27, 2021Opening Reception May 21&nbsp; 7:00-9:30pm The Appalachian range is a barrier for east to west travel, with ridge lines and valleys oriented in opposition to highways and railroads. Deep grooves are cut from the faces of mountains to accommodate our movement. Driving on Interstate 40 with the windows down, I imagine my arm outstretched, grazing the dips and folds in the rock face. In preparation for Field Dug Over,&nbsp; Saffronia asked me to send her photos; photos of the ground when walking around, of clay deposits, of crags and bluffs. Although the work was made between Western Massachusetts and Chicago, Illinois, careful attention has always been paid to the landscape and history of where the work would be shown. Careful attention reveals that mountains have been moving while seemingly holding still beside us. “Fold mountains” are created where two or more of Earth’s tectonic plates are pushed together. At these colliding, compressing boundaries, rock and debris are warped and folded through a process called orogeny. In the same vein, Saffronia uses foraged clay from many sites, pressed firmly into a mold, akin to how a brick is made. Different clay bodies collide and compress. Creases and wrinkles develop then fold on top of each other. Glaze sinks into furrows and forms depressions that hold the same shine and depth as the surface of a water-filled quarry. A “fold mountain” usually displays more than one type of fold, and much like the mountains, these sculptures contain many bends and buckles. In the firing process, the once tightly pressed clay settles into a gentle slump. While this work is informed by research from documents on the history of Tennessee potters and Chicago brick makers, it is guided by movement – photos sent between places, sediment shifting, relocating to a new area, matter transported in the back of cars. If you were to touch your hand to the face of an Appalachian mountain while on the highway at 60 miles per hour, the shale would flake, the limestone would hollow, and the sandstone would crack and crumble into smaller rocks, eventually turning to sand and mud that might press and uplift into a mountain, or maybe be scooped up into a bucket to become an object. In Field Dug Over, E. Saffronia Downing shows us that although it takes millions of years of orogenic shifting to create a mountain, there are many ways to move the earth around us. E. Saffronia Downing works with clay to map material residue across time and place. She received her BA in Studio Art from Hampshire College and her MFA in Ceramics from School of the Art Institute of Chicago. She has exhibited nationally at numerous galleries on the East and West Coasts, and internationally in Japan. Downing has received awards and residencies such as the Ox-Bow School of Art Fellowship, ACRE Residency, and Salem Art Works Residency. She currently teaches in the Sculpture Department at the School of the&nbsp; Art Institute of Chicago. https://badwater.gallery/Matt-Smoak Fri, 04 Feb 2022 14:58:23 +0000 Bad Water https://badwater.gallery/Matt-Smoak <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/cd58efe603bec4a524455ee89427f04b88e3c3e72c94bf17b4d08500c71e4724/01_web.jpg" data-mid="132501081" border="0" src="https://freight.cargo.site/w/1000/i/cd58efe603bec4a524455ee89427f04b88e3c3e72c94bf17b4d08500c71e4724/01_web.jpg" /> Body Without Organs, Installation View <img width="2400" height="1608" width_o="2400" height_o="1608" data-src="https://freight.cargo.site/t/original/i/566b5d7cc15b562548e2da1a30bafda752784acadccf3c33fc33531911405cb7/02_web.jpg" data-mid="132501077" border="0" src="https://freight.cargo.site/w/1000/i/566b5d7cc15b562548e2da1a30bafda752784acadccf3c33fc33531911405cb7/02_web.jpg" /> Body Without Organs, Installation View <img width="2400" height="1617" width_o="2400" height_o="1617" data-src="https://freight.cargo.site/t/original/i/508321fd258279fdad61209b4e0c27599a6033ec0085554cdd103ec53c741f35/014_web.jpg" data-mid="132501074" border="0" src="https://freight.cargo.site/w/1000/i/508321fd258279fdad61209b4e0c27599a6033ec0085554cdd103ec53c741f35/014_web.jpg" />Body Without Organs, Installation View <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/73a17bf96dc279861e20eb0759d3398e935c2daf60ed295f41fd8afb0784d405/05_web.jpg" data-mid="132501080" border="0" src="https://freight.cargo.site/w/1000/i/73a17bf96dc279861e20eb0759d3398e935c2daf60ed295f41fd8afb0784d405/05_web.jpg" />Bricolage Garment, 2021, cotton shirts, sandwich wrapper, photos, paint, paper <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/fea92aeafc6b90ddf42a0a91734da4d62cc8f74405b462122ad2c965a1cf549d/03_web.jpg" data-mid="132501076" border="0" src="https://freight.cargo.site/w/1000/i/fea92aeafc6b90ddf42a0a91734da4d62cc8f74405b462122ad2c965a1cf549d/03_web.jpg" /> Mirror #2, 2021, oil on board Bricolage Garment, 2021, wood, paper <img width="2400" height="1634" width_o="2400" height_o="1634" data-src="https://freight.cargo.site/t/original/i/d2ef458fca8e633977c6ee2de971bcbde23470dbfe9dc47126b207525b95b500/04_web.jpg" data-mid="132501079" border="0" src="https://freight.cargo.site/w/1000/i/d2ef458fca8e633977c6ee2de971bcbde23470dbfe9dc47126b207525b95b500/04_web.jpg" />Mirror #2, 2021, oil on board <img width="1672" height="2400" width_o="1672" height_o="2400" data-src="https://freight.cargo.site/t/original/i/d7fb0906f6361fb3c5872aab79946bd8d75d00cbbfe00f146aa772c541ac3298/07_web.jpg" data-mid="132501073" border="0" src="https://freight.cargo.site/w/1000/i/d7fb0906f6361fb3c5872aab79946bd8d75d00cbbfe00f146aa772c541ac3298/07_web.jpg" /> Bricolage Garment, 2021, yukata, shirt, alumnium <img width="1603" height="2400" width_o="1603" height_o="2400" data-src="https://freight.cargo.site/t/original/i/cf9633a73595c5ec2669c2fb357115af76cce4c195e0fd1012acf4c4e6f0f700/06_web.jpg" data-mid="132501083" border="0" src="https://freight.cargo.site/w/1000/i/cf9633a73595c5ec2669c2fb357115af76cce4c195e0fd1012acf4c4e6f0f700/06_web.jpg" /> Mirror #5, 2021, oil on board <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/af55d73ec714f9ed7353d8c50d2937ff8a1b353967e74a4bde8572a80f90b41f/09_web.jpg" data-mid="132501078" border="0" src="https://freight.cargo.site/w/1000/i/af55d73ec714f9ed7353d8c50d2937ff8a1b353967e74a4bde8572a80f90b41f/09_web.jpg" /> Mirror #1, 2021, oil on board Bricolage Garment, 2021, cotton shirt, quilt scraps, aluminum, paintBricolage Garment, 2021, cotton yukata, cotton shirt, wood <img width="1694" height="2400" width_o="1694" height_o="2400" data-src="https://freight.cargo.site/t/original/i/17315a1a38cd6ef7968cd38cd483f46a69b183daf2e9108041b689706e0c081f/015_web.jpg" data-mid="132501082" border="0" src="https://freight.cargo.site/w/1000/i/17315a1a38cd6ef7968cd38cd483f46a69b183daf2e9108041b689706e0c081f/015_web.jpg" />Mirror #1, 2021, oil on board <img width="4226" height="5897" width_o="4226" height_o="5897" data-src="https://freight.cargo.site/t/original/i/e4ef2fe977317df1cd521decad5cfbd0db7221500450e29b08d1e9e9e7f1c4b0/013_large.jpg" data-mid="132501075" border="0" src="https://freight.cargo.site/w/1000/i/e4ef2fe977317df1cd521decad5cfbd0db7221500450e29b08d1e9e9e7f1c4b0/013_large.jpg" />Bricolage Garment, 2021, wool&nbsp; coat, cotton yukata, ink on&nbsp; paper, magazine page, photosBricolage Garment, 2020, cotton yukata, cotton shirt, wood <img width="5840" height="3900" width_o="5840" height_o="3900" data-src="https://freight.cargo.site/t/original/i/87975a984738d45e8055f30d97f0b038c0c77665c992fa4569046aaaf76c6a97/012_large.jpg" data-mid="132501072" border="0" src="https://freight.cargo.site/w/1000/i/87975a984738d45e8055f30d97f0b038c0c77665c992fa4569046aaaf76c6a97/012_large.jpg" /> My eyes want, my sphincter wants, my lungs want, my heart wants, I become the nature of their collective desire. &nbsp; I spend the afternoons making drawings. Sumi ink on sandwich wrappers. A likeness born from my mind’s eye has moved my hand. I take apart clothing and furniture. A mirror of interiority. The construction of a possible body using the scraps and fragments from the items around my home. The light is warm, yellow. The disorganized body. The assembled body. How do I make myself a body without organs? &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; -Matt Smoak, 2021 Today Thew texted me about art unfolding beyond the shadows of institutional ways of thinking, of consuming. Several weeks ago talking on the phone, he says to me something about poetry under the shadow of capitalism. This ethos is woven in to the work in Body Without Organs. It resides somewhere other than the world of surface and appearances. The material, familiar— cotton shirts, sandwich wrappers, thrift store tags, polaroid photographs—&nbsp; but in their reassembly move towards a vast reservoir of becoming. I’m reluctant to say they hold secrets as nothing is intentionally kept hidden, the work just always has the capacity for further unfolding. More draped over a hanger than properly hung. Stretcher bars dangle from a hole in a shoulder, drawings rest in the crook of an armpit, a reflection is seen in paintings of mirrors and in shining compressed pie tins, poetry tumbles out of every sleeve. I wrote a note in my journal in between these two times speaking with Thew about the shadow of the earth itself. Cast through its atmosphere and into outer space, the shadows visible fringe appearing in the early dusk and late dawn. I wrote this thinking about watching the sun rise and set not only to see the sun, but to be a witness to the earth seeing itself. Thew Smoak is an artist based in Connecticut. He was raised in Tokyo and Washington, DC, and is currently a Painting MFA candidate at the Yale School of Art. His work has been shown in solo shows in Europe and the US. He participated in the Skowhegan School of Painting &amp; Sculpture in Maine in 2019. https://badwater.gallery/Eleanor-Conover Fri, 04 Feb 2022 14:58:24 +0000 Bad Water https://badwater.gallery/Eleanor-Conover <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/e5b6cc8c442d0342636dfc73877bf5ccd6e7d19ef68bacb920763676b129a8a3/07_LFTSS_Web.jpg" data-mid="132501172" border="0" src="https://freight.cargo.site/w/1000/i/e5b6cc8c442d0342636dfc73877bf5ccd6e7d19ef68bacb920763676b129a8a3/07_LFTSS_Web.jpg" /> Learning From The Steep Slope,&nbsp; Installation view <img width="1605" height="2400" width_o="1605" height_o="2400" data-src="https://freight.cargo.site/t/original/i/116bd70935c89146437e861c59322f6a23fafa0cd95e9b6156c755cf6837b2ba/02_LFTSS_Web.jpg" data-mid="132501174" border="0" src="https://freight.cargo.site/w/1000/i/116bd70935c89146437e861c59322f6a23fafa0cd95e9b6156c755cf6837b2ba/02_LFTSS_Web.jpg" />Nearer Fuller, 2020, dye, bleach, acrylic, oil, natural pigment, linen, and pine, 54 x 38.5 in. (variable dimensions) <img width="1627" height="2400" width_o="1627" height_o="2400" data-src="https://freight.cargo.site/t/original/i/a57d11fea823bdf51940ebc18a73148a68cba519f8656157b21243560b5fc6b6/01_LFTSS_Web.jpg" data-mid="132501176" border="0" src="https://freight.cargo.site/w/1000/i/a57d11fea823bdf51940ebc18a73148a68cba519f8656157b21243560b5fc6b6/01_LFTSS_Web.jpg" />Early Landscape (II), 2020, oil, bleach, graphite, dye, linen, and pine, 54 x 40 in. (variable dimensions) <img width="1637" height="2400" width_o="1637" height_o="2400" data-src="https://freight.cargo.site/t/original/i/de23b3ec578b007fbc1b621a0ab12a885cff2fffad65b0f886620c6342467453/03_LFTSS_Web.jpg" data-mid="132501173" border="0" src="https://freight.cargo.site/w/1000/i/de23b3ec578b007fbc1b621a0ab12a885cff2fffad65b0f886620c6342467453/03_LFTSS_Web.jpg" />Two Dactyls, 2019, oil, acrylic, dye, sewn canvas, and pine, 21.5 x 16 in. (variable dimensions) <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/bfe57eef80d62abfa84e3a4fb9df0411b60cbc131c71f28d7b74a4139a085a6b/08_LFTSS_Web.jpg" data-mid="132501170" border="0" src="https://freight.cargo.site/w/1000/i/bfe57eef80d62abfa84e3a4fb9df0411b60cbc131c71f28d7b74a4139a085a6b/08_LFTSS_Web.jpg" /> Tree House, After Bell, 2020, dye, bleach, oil, canvas, and pine, 54 x 40 in. (variable dimensions) <img width="1674" height="2400" width_o="1674" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b786b3e50eb44090e4bddad6e9bec337780882d3458ed6b5459b473e95645679/04_LFTSS_Web.jpg" data-mid="132501175" border="0" src="https://freight.cargo.site/w/1000/i/b786b3e50eb44090e4bddad6e9bec337780882d3458ed6b5459b473e95645679/04_LFTSS_Web.jpg" /> Antipode, 2020, oil, bleach, dye, canvas, and pine, 45 x 35 in (variable dimensions) <img width="1681" height="2400" width_o="1681" height_o="2400" data-src="https://freight.cargo.site/t/original/i/f777a82587431c1638f89215fc45b868f11d926c7c157248fa2eba5fff047917/06_LFTSS_Web.jpg" data-mid="132501171" border="0" src="https://freight.cargo.site/w/1000/i/f777a82587431c1638f89215fc45b868f11d926c7c157248fa2eba5fff047917/06_LFTSS_Web.jpg" />The Big Year,&nbsp; 2020, oil, dye, bleach, sewn canvas, pine, 19 x 15 in.Sincerely Yours, 2020, dye, bleach, linen, pine 12 x 9 in. <img width="3600" height="2400" width_o="3600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/158c66ac607fc8154ea98cdb1c69d26638eaadb8abbe2c899875b1c3807419d3/05_LFTSS_Web.jpg" data-mid="132501177" border="0" src="https://freight.cargo.site/w/1000/i/158c66ac607fc8154ea98cdb1c69d26638eaadb8abbe2c899875b1c3807419d3/05_LFTSS_Web.jpg" /> Flying by the seat of your pants is an idiom that comes from early days of aviation to describe flight when instruments were not working, when weather interfered with visibility, when flying was less about mechanical navigation aids and entirely dependent on navigating a plane guided by instinct. Eleanor’s paintings have less to do with aviation, but everything to do with painting from experience, feeling, and intuition over a set in stone method. It’s an ironic endeavor to talk about her work this way. For as many instinctual decisions made in the paintings there is a lifetime of close looking, learning, of literature, of art, of archives. These paintings hold file folders worth of information, yes, but to limit them to their cultural references would be to reduce them to their image, to history, when they’re very much about processing material, understanding space, about learning as she goes. Flying by the seat of your pants in an exercise in both learning and new ways of knowing. Intuition is often referred to as “gut feeling” as it seems to arise fully formed form some deep part of us. Not magical, but rather a faculty in which hunches are generated by our mind sifting through past experience and cumulative knowledge. Materially, the paintings are light but they hold a weighty gut. I know this is something Eleanor thinks about. A Virgo, her bodily rule is over the digestive system. She writes in an email: When I am painting now, I am always thinking of the relationship of oil paint, dye, bleach, and acrylic paint to weight, and the heaviness and lightness of objects, colors, materials. I have also incorporated some writing or notation of meter into the paintings, for example, the U / marks reference an iamb of poetic meter. So painting as a mark-making or sign-making exercise is, I think, related to writing and words and the construction of speech. When we talk about poetic meter we talk about stressed and unstressed syllables, which have a kind of “weight,” too. By extension this also involves the space between letters, the pause between speaking, the space in between the tree branches, the shapes created in the negative space of the stretcher bar designs. The collapse of the metaphor of weight with the real weight of stones and the displacement of natural objects is something I’m thinking about right now. Susan Howe writes about crossing the land bridge from Asia to the Americas: “in its first dumb form / language was gesture / technique of traveling over sea ice silent/ before great landscapes and glittering procession” Eleanor Conover is an artist whose work engages with the physical and material conditions of painting as a metaphor for environmental time and space. Born in Hartford, CT in 1988, she received her MFA at Tyler School of Art, Temple University (2018) and her BA from Harvard College (2010). Most recently, her work has been shown at Ortega Y Gasset Projects (Brooklyn, NY) and through the Center for Maine Contemporary Art (Rockland, ME). Her work has been supported at artist residencies including Vermont Studio Center, Cow House Studios, and the Joseph A. Fiore Art Center, and she is the recipient of the 2020 Alice C. Cole Fellowship at Wellesley College. She lives in Knoxville, TN, where she teaches Painting and Drawing at the University of Tennessee. https://badwater.gallery/Serendipity-Trail Fri, 04 Feb 2022 14:58:24 +0000 Bad Water https://badwater.gallery/Serendipity-Trail <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/9073fc09957061648c0cc5b5883a05803ea1e67bee4b127ac2bdee41c44e9fc3/ST_015_Web.jpg" data-mid="136554083" border="0" src="https://freight.cargo.site/w/1000/i/9073fc09957061648c0cc5b5883a05803ea1e67bee4b127ac2bdee41c44e9fc3/ST_015_Web.jpg" /> Serendipity Trail, installation view&nbsp; <img width="2400" height="1629" width_o="2400" height_o="1629" data-src="https://freight.cargo.site/t/original/i/e0c53cbe28efc939b7fb74c5e1b5d3870bcf4944ee862676810809c5f90c1362/ST_01_Web.jpg" data-mid="136554036" border="0" src="https://freight.cargo.site/w/1000/i/e0c53cbe28efc939b7fb74c5e1b5d3870bcf4944ee862676810809c5f90c1362/ST_01_Web.jpg" /> Serendipity Trail, installation view <img width="6311" height="4015" width_o="6311" height_o="4015" data-src="https://freight.cargo.site/t/original/i/05b0b1fd4e5c590d8a71d42a75a1900d292a3344e9aa9752b4099659f70b9b18/ST_04_Web.jpg" data-mid="136554039" border="0" src="https://freight.cargo.site/w/1000/i/05b0b1fd4e5c590d8a71d42a75a1900d292a3344e9aa9752b4099659f70b9b18/ST_04_Web.jpg" /> Serendipity Trail, installation view <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/c3c7926aa6b6394508028d02870259aa64e76b6e424ad09ec4541cef93a43cf7/ST_09_Web.jpg" data-mid="136554046" border="0" src="https://freight.cargo.site/w/1000/i/c3c7926aa6b6394508028d02870259aa64e76b6e424ad09ec4541cef93a43cf7/ST_09_Web.jpg" /> Cameron Cameron, Blood Orange Sun, 2021, resin, found butterfly wings, foam, image transfer, fish flies <img width="1608" height="2400" width_o="1608" height_o="2400" data-src="https://freight.cargo.site/t/original/i/3bf5c8fbc54d948722c71870b895daf3fbf09f31ed4cddc5bd1c731c5ca5568f/ST_08_Web.jpg" data-mid="136554043" border="0" src="https://freight.cargo.site/w/1000/i/3bf5c8fbc54d948722c71870b895daf3fbf09f31ed4cddc5bd1c731c5ca5568f/ST_08_Web.jpg" /> Cameron Cameron, Blood Orange Sun, 2021, resin, found butterfly wings, foam, image transfer, fish flies <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b5f008e66ad2ae895befbc8d895d0bf324a3e2cc6eab8deb9402697e616e4e08/ST_02_Web.jpg" data-mid="136554037" border="0" src="https://freight.cargo.site/w/1000/i/b5f008e66ad2ae895befbc8d895d0bf324a3e2cc6eab8deb9402697e616e4e08/ST_02_Web.jpg" /> Justin Chance, Dinosaur, 2021-2022, quilted wet and needle felted wool, silk, cotton, dye <img width="1611" height="2400" width_o="1611" height_o="2400" data-src="https://freight.cargo.site/t/original/i/deb06861a63c118acc8e1c4242465ffcb469d62cac6ab050a6ec3465b4aa810b/ST_07_Web.jpg" data-mid="136554042" border="0" src="https://freight.cargo.site/w/1000/i/deb06861a63c118acc8e1c4242465ffcb469d62cac6ab050a6ec3465b4aa810b/ST_07_Web.jpg" /> Cameron Cameron, Elouise’ Eye, 2021, shell, cowhide, rubber, leather <img width="1574" height="2400" width_o="1574" height_o="2400" data-src="https://freight.cargo.site/t/original/i/051d483ced0b8354519f8ecee56df9817c3cccfec567dcda443aa667b6f0ba1f/ST_10_web.jpg" data-mid="136554052" border="0" src="https://freight.cargo.site/w/1000/i/051d483ced0b8354519f8ecee56df9817c3cccfec567dcda443aa667b6f0ba1f/ST_10_web.jpg" /> Tristan Higginbotham, Enrichment Collage 4, 2021, cotton, wood glue, milkweed pod, plastic, acorn, zip ties <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/cd8b1b5ca2cf24e08d543f01434a8ad7643d57dbc3ad209dd64ff46e9a918a88/ST_05_Web.jpg" data-mid="136554040" border="0" src="https://freight.cargo.site/w/1000/i/cd8b1b5ca2cf24e08d543f01434a8ad7643d57dbc3ad209dd64ff46e9a918a88/ST_05_Web.jpg" /> Cameron Cameron, Bee Suit, 2020, found objects, netting <img width="1701" height="2400" width_o="1701" height_o="2400" data-src="https://freight.cargo.site/t/original/i/e74533c817b5846239477549b516ce5871ae143236a592ee3858dd075578eb1b/ST_06_Web.jpg" data-mid="136554041" border="0" src="https://freight.cargo.site/w/1000/i/e74533c817b5846239477549b516ce5871ae143236a592ee3858dd075578eb1b/ST_06_Web.jpg" /> Cameron Cameron, Bee Suit, 2020, found objects, netting <img width="1528" height="2400" width_o="1528" height_o="2400" data-src="https://freight.cargo.site/t/original/i/49103ab715ec918f5cb617ec605c07e9ccabdc52d1f50170153f39942bf6c6b7/ST_013_Web.jpg" data-mid="136554072" border="0" src="https://freight.cargo.site/w/1000/i/49103ab715ec918f5cb617ec605c07e9ccabdc52d1f50170153f39942bf6c6b7/ST_013_Web.jpg" /> Tristan Higginbotham, Blue Collage, 2021 , dryer lint, glue, seashells, probiscidea seed pods, carrot covered in borax, spider crab shell, milkweed pods, water chestnut seeds, sweet gum seeds, dryer sheet Pronged Collage, 2021, dryer lint, glue, muskrat bones, probiscidea seed pods, cotton, sawdust clay, sweepings, milkweed pods, water chestnut seeds, sweet gum seeds <img width="1637" height="2400" width_o="1637" height_o="2400" data-src="https://freight.cargo.site/t/original/i/0e96692b999f9444803db05f839fabce0beb5c36817f54898cfcba1bedd7ab92/ST_03_Web.jpg" data-mid="136554038" border="0" src="https://freight.cargo.site/w/1000/i/0e96692b999f9444803db05f839fabce0beb5c36817f54898cfcba1bedd7ab92/ST_03_Web.jpg" /> Tristan Higginbotham, Pronged Collage,&nbsp; 2021, dryer lint, glue, muskrat bones, probiscidea seed pods, cotton, sawdust clay, sweepings, milkweed pods, water chestnut seeds, sweet gum seeds <img width="1566" height="2400" width_o="1566" height_o="2400" data-src="https://freight.cargo.site/t/original/i/d3a631b8758e543f71dac27e8d51dee9131259366b17c8cc5c6a092520651259/ST_011_Web.jpg" data-mid="136554059" border="0" src="https://freight.cargo.site/w/1000/i/d3a631b8758e543f71dac27e8d51dee9131259366b17c8cc5c6a092520651259/ST_011_Web.jpg" /> Cameron Cameron, This hasn’t happened yet--- but give it time!!! Resin, foam, image transfer, fish flies, 2021 <img width="1585" height="2400" width_o="1585" height_o="2400" data-src="https://freight.cargo.site/t/original/i/2f85d8f9ecfb8b3da11de4ac2a964a5de595e29e47bf80f1e36343efb3b878a0/ST_012_Web.jpg" data-mid="136554065" border="0" src="https://freight.cargo.site/w/1000/i/2f85d8f9ecfb8b3da11de4ac2a964a5de595e29e47bf80f1e36343efb3b878a0/ST_012_Web.jpg" /> Cameron Cameron, This hasn’t happened yet--- but give it time!!! Resin, foam, image transfer, fish flies, 2021 <img width="2400" height="1609" width_o="2400" height_o="1609" data-src="https://freight.cargo.site/t/original/i/fac193f2db837cd764f8754356f9301ecb1cbbaa714d5bd429f9dc6e24cfb85a/ST_014_Web.jpg" data-mid="136554078" border="0" src="https://freight.cargo.site/w/1000/i/fac193f2db837cd764f8754356f9301ecb1cbbaa714d5bd429f9dc6e24cfb85a/ST_014_Web.jpg" /> Cameron Cameron, Bee Suit, 2020, found objects, netting&nbsp; &amp; Justin Chance,&nbsp; 35mm film color print, latex, aluminum frames Love is a full-time job (Field Museum, Chicago IL, Workplace), 2012 – 2022Love is a full-time job (Lincoln Park Zoo, Chicago IL, Bird Feeding Lab, 5:55pm), 2012 – 2022 Love is a full-time job (Field Museum, Chicago IL, Sue), 2012 – 2022 Love is a full-time job (Field Museum, Chicago IL, Workplace II), 2012 – 2022 Love is a full-time job (Field Museum, Chicago IL, Prehistoric Tree Display), 2012 – 2022 Love is a full-time job (Field Museum, Chicago IL, Graveyard), 2012 – 2022 Serendipity Trail Justin Chance, Cameron Cameron, Tristan Higginbotham February 12 - March 25, 2022 This might be a fact or a fiction: that butterflies &amp; moths understand their sense of time through the beat of their wings. The same-but-different way that we have come to understand a minute by a hand ticking on a clock, or a second as it scrolls by on the timer of a phone. It’s 11:37am– Sitting at my desk while writing, I lean down to flutter my eyelashes against my pointer finger, butterfly kisses; my own set of wings. Each lash rustles: Frrrr frrrrr ssss ssss sss&nbsp; and I consider how many more moments there could be in a day if this constant fluttering dictated my temporal senses. Serendipity Trail opens in the beginning of February; the start of a generation of Monarch butterflies’ migratory flight up into the southern United States where, in effort to aid population recovery, monarch enthusiasts have begun to captively rear and release the butterflies. Amateur naturalists and climate-anxiety fueled children's birthday parties with an honest adoration for the insect have doomed them; those bred in simulated outdoor conditions lose their innate sense of orientation towards the South. It’s 2:42pm– I watch videos of butterflies attached to simulated flight machines that hope to awaken their ingrained compass, another titled “butterfly wings flapping sound” and “the SOUND of millions of monarch butterflies” hoping to phonetically spell it out for this text. But unlike the sharp ticking of a clock or the harsh buzzer of an alarm, in trying to imitate the sound under my breath almost nothing comes out.&nbsp; The sensation is closer to that of sand slipping through your fingers or the wind whistling through long hair than any spoken language or understanding of time. Frrrr frrrrr ssss ssss sss Serendipity Trail considers ideas of distance, seasonality, work, hobby, life cycles &amp; generational history. Time that can both be intertwined with, and totally disconnected from, the sense of time of a butterfly, or a moth, or a bird, or maybe the person closest to you. In this departure from a linear, anthropocentric understanding of time, fact and fiction become as blurry as the flitter of a wing. In Tristan Higginbothams’ sculptures; found wood, seed pods, bird eggs and shells bond together using a variety of adhesives– including a lard-based suet–becoming collaged masses oriented around the practice of enrichment “by which an animals core environmental comforts and needs are provided via an echoing of and slight mimesis of nature”. Guided by the experience of looking, walking, and holding; Cameron Cameron’s images &amp; objects call attention to “those non-domesticated creatures whose lives intersect more intimately with our own: spiders in the shower, ants at the picnic table, hornets in the corner of the porch. Insects are vital pollinators and recyclers of ecosystems, the foundation of the food web everywhere. If the whole insect world went missing, that loss of abundance could alter us irreparably”. Cameron interrogates how one’s relationships to bugs, nature and place corresponds with the love and loss of the day-to-day. Reflecting on the complicated notion of time, history, natural history stewardship and the archive; Justin Chance’s 35mm series of snapshots of public viewing and private work spaces at the Field Museum in Chicago and wet &amp; needle felted quilt asks how different understandings of time affects value systems and legacies placed upon cultural, material and natural objects. Justin Chance (b. 1993, New York, NY) is an artist, writer and co-founder of the Collaborative Center for Storm, Space &amp; Seismic Research and has held solo exhibitions with Smart Objects, Los Angeles, CA and Tuesday, Richmond VA and has been included in group exhibitions with Downs &amp; Ross, New York NY, tilling, Montreal CA, Ginny on Fredricks, London UK, Fonda, Leipzig, Germany; Housing, Miami, FL; Underground Flower at James River Park, Richmond, VA; Three Four Three Four, Brooklyn, NY; Gern en Regalia, New York, NY; Shoot the Lobster, New York, NY; Thierry Goldberg Gallery, New York, NY; Lock Up International, London, United Kingdom; NY; Institute of Contemporary Art Baltimore, Baltimore, MD; Smart Objects, Los Angeles, CA; and May 2000, Chicago, IL. Chance holds a BA in Visual &amp; Critical Studies and BFA from the School of the Art Institute of Chicago. He lives and works in New York, NY. Cameron Cameron (b. 1991) was raised in Texas and lives in Los Angeles, CA. She received her BFA from the University of Texas at Austin (UT) in 2014, attended Skowhegan School of Painting and Sculpture in 2017, and received her MFA from University of California, Los Angeles (UCLA) in 2018. She is a founding and contributing member to MATERIAL GIRLS. She currently teaches high school Photography at Campbell Hall School in Los Angeles. Tristan Higginbotham (b. 1996) is a multidisciplinary artist&nbsp; from her Tennessee Mountain Home. Currently she maintains a studio practice in Brooklyn, NY and rehabilitates birds four days a week at the Wild Bird Fund. Tristan received her BFA from Watkins College in 2018. She participated in the NYC Audubon Governors Island residency in 2019, the Stoveworks residency in 2021, and is an advocate for Bird-Safe Glass. https://badwater.gallery/Outliners Fri, 04 Feb 2022 14:58:24 +0000 Bad Water https://badwater.gallery/Outliners <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/5c389ad69bac0e5aa611be82691adb6092b1689bfdde9b8a794046fd45843b05/sadsdgdzg.jpg" data-mid="220726311" border="0" src="https://freight.cargo.site/w/1000/i/5c389ad69bac0e5aa611be82691adb6092b1689bfdde9b8a794046fd45843b05/sadsdgdzg.jpg" /> Outliners, installation view <img width="6720" height="4584" width_o="6720" height_o="4584" data-src="https://freight.cargo.site/t/original/i/9456df000521f0ebd394d908741e7998b6643f2a24e920bae9ce8180e116f7ac/video_1.jpg" data-mid="220726171" border="0" src="https://freight.cargo.site/w/1000/i/9456df000521f0ebd394d908741e7998b6643f2a24e920bae9ce8180e116f7ac/video_1.jpg" /> Phyllis Baldino,TraitFee, 2012 single-channel video installation (4:3 ratio), color/sound, 13:29:16 minutes, edition of 3 <img width="6720" height="4584" width_o="6720" height_o="4584" data-src="https://freight.cargo.site/t/original/i/8d54faa9b674e4e38ef6d1360ba29830ba89e6341ae0e926405da5eccd2ecfd0/video_3.jpg" data-mid="220726170" border="0" src="https://freight.cargo.site/w/1000/i/8d54faa9b674e4e38ef6d1360ba29830ba89e6341ae0e926405da5eccd2ecfd0/video_3.jpg" /> Phyllis Baldino,TraitFee, 2012 single-channel video installation (4:3 ratio), color/sound, 13:29:16 minutes, edition of 3 <img width="6720" height="4584" width_o="6720" height_o="4584" data-src="https://freight.cargo.site/t/original/i/9ba062f037623a1cb4d9a7e4d50e24994300e03011938fdeaa689bc30e060b72/video_2.jpg" data-mid="220726173" border="0" src="https://freight.cargo.site/w/1000/i/9ba062f037623a1cb4d9a7e4d50e24994300e03011938fdeaa689bc30e060b72/video_2.jpg" /> Phyllis Baldino,TraitFee, 2012 single-channel video installation (4:3 ratio), color/sound, 13:29:16 minutes, edition of 3 <img width="4326" height="6120" width_o="4326" height_o="6120" data-src="https://freight.cargo.site/t/original/i/ea2b0634aa294cdbaad12cc0be5f14a4768826a9a4b9e46f43a3465651a1e7d7/_02A2131-Edit-copy.jpg" data-mid="220726314" border="0" src="https://freight.cargo.site/w/1000/i/ea2b0634aa294cdbaad12cc0be5f14a4768826a9a4b9e46f43a3465651a1e7d7/_02A2131-Edit-copy.jpg" /> Outliners, installation view <img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/263486a4d764ef43db508aef4ae5dcf5814cec6eb97deb7f0a25e20947a4e541/O_07-copy-2.jpg" data-mid="220726316" border="0" src="https://freight.cargo.site/w/1000/i/263486a4d764ef43db508aef4ae5dcf5814cec6eb97deb7f0a25e20947a4e541/O_07-copy-2.jpg" /> Ellie Rae Hunter, The Fixers iii, 2023, Aquaresin, cast aluminum <img width="4108" height="6300" width_o="4108" height_o="6300" data-src="https://freight.cargo.site/t/original/i/cb664249b9719134bf57d6e293c6e8fba378781aa450eb261a887d3b429506f1/002A2150-2-Edit.jpg" data-mid="220726353" border="0" src="https://freight.cargo.site/w/1000/i/cb664249b9719134bf57d6e293c6e8fba378781aa450eb261a887d3b429506f1/002A2150-2-Edit.jpg" /> Ellie Rae Hunter, The Fixers iii, 2023, Aquaresin, cast aluminum <img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/f049181008b95906982d10668237b3ff4fc3400330b3f608592026afc623bd68/O_05.jpg" data-mid="220726310" border="0" src="https://freight.cargo.site/w/1000/i/f049181008b95906982d10668237b3ff4fc3400330b3f608592026afc623bd68/O_05.jpg" /> Ellie Rae Hunter, The Fixers ii, 2023, Aquaresin, cast aluminum <img width="4272" height="6316" width_o="4272" height_o="6316" data-src="https://freight.cargo.site/t/original/i/206a7e065927ab38752a6ba479af7e68db5c1a9c3eefc3cb0c0e3684b1e53cce/O_06-copy.jpg" data-mid="220726309" border="0" src="https://freight.cargo.site/w/1000/i/206a7e065927ab38752a6ba479af7e68db5c1a9c3eefc3cb0c0e3684b1e53cce/O_06-copy.jpg" /> Ellie Rae Hunter, The Fixers ii, 2023 (detail) <img width="4153" height="6306" width_o="4153" height_o="6306" data-src="https://freight.cargo.site/t/original/i/151986bd5404a15015aa744084d0efc85ea535680660cd9d267fe022b7cc709a/O_09-copy.jpg" data-mid="220726313" border="0" src="https://freight.cargo.site/w/1000/i/151986bd5404a15015aa744084d0efc85ea535680660cd9d267fe022b7cc709a/O_09-copy.jpg" /> Max Guy, Solo Improvisation, for Shir Ende, 2024, Inkjet Print on Paper <img width="4480" height="6500" width_o="4480" height_o="6500" data-src="https://freight.cargo.site/t/original/i/608d7fe4d689e5bfeb4f3f756fc4f776d43357b127ccf522a15fdb564b6a91d2/O_08-copy.jpg" data-mid="220726312" border="0" src="https://freight.cargo.site/w/1000/i/608d7fe4d689e5bfeb4f3f756fc4f776d43357b127ccf522a15fdb564b6a91d2/O_08-copy.jpg" /> Max Guy, Solo Improvisation, for Shir Ende, 2024 (detail) <img width="4300" height="6456" width_o="4300" height_o="6456" data-src="https://freight.cargo.site/t/original/i/bb15ad0050614f5d6df491c7b6360214095a3ebd6da9f9e1991a852557b1f730/002A2294-Edit-copy.jpg" data-mid="220726315" border="0" src="https://freight.cargo.site/w/1000/i/bb15ad0050614f5d6df491c7b6360214095a3ebd6da9f9e1991a852557b1f730/002A2294-Edit-copy.jpg" /> Max Guy, Appareil Photo #4 (Bill Jenkins Theater), 2024 Enamel Paint on Book Board, gum Tape, Duct Tape, acrylic paint on foam board, Epson Perfection V600 <img width="4480" height="6456" width_o="4480" height_o="6456" data-src="https://freight.cargo.site/t/original/i/3e24a1cd9fa9634ebb56009f19286de133b47f94b0ff4e98fdb88387244e75f9/002A2301-Edit-copy.jpg" data-mid="220726532" border="0" src="https://freight.cargo.site/w/1000/i/3e24a1cd9fa9634ebb56009f19286de133b47f94b0ff4e98fdb88387244e75f9/002A2301-Edit-copy.jpg" /> Max Guy, Appareil Photo #4 (Bill Jenkins Theater), 2024Enamel Paint on Book Board, gum Tape, Duct Tape, acrylic paint on foam board, Epson Perfection V600 <img width="4480" height="6348" width_o="4480" height_o="6348" data-src="https://freight.cargo.site/t/original/i/4b71254f4a4476470d5893fa7cc31633b6a7bc482eed8ed5c89b896d0c1434f6/O_01-copy.jpg" data-mid="220726666" border="0" src="https://freight.cargo.site/w/1000/i/4b71254f4a4476470d5893fa7cc31633b6a7bc482eed8ed5c89b896d0c1434f6/O_01-copy.jpg" /> Ellie Rae Hunter, The Fixers i, 2023, Aquaresin, cast aluminum <img width="4084" height="6300" width_o="4084" height_o="6300" data-src="https://freight.cargo.site/t/original/i/b42061bf05e01d3b462f790d9cafe319c3ec072f0c83b2b3fab20301df5ff326/O_02-copy.jpg" data-mid="220726307" border="0" src="https://freight.cargo.site/w/1000/i/b42061bf05e01d3b462f790d9cafe319c3ec072f0c83b2b3fab20301df5ff326/O_02-copy.jpg" /> Ellie Rae Hunter, The Fixers i, 2023 (detail) <img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/b3fdba027f8cb96793b39f82ef57b16dadb0953fedf1d8df4aca1164b8627b95/O_03-copy.jpg" data-mid="220726308" border="0" src="https://freight.cargo.site/w/1000/i/b3fdba027f8cb96793b39f82ef57b16dadb0953fedf1d8df4aca1164b8627b95/O_03-copy.jpg" /> Ellie Rae Hunter, The Fixers i, 2023 (detail) Outliners Phyllis Baldino, Max Guy &amp; Ellie Rae Hunter October 4- November 10, 2024 Recently, I was part of a debate about grammar—the so-called “slippery slope” of turning nouns or adjectives into verbs. The concern was that this misuse of structure might confuse readers, making the language unclear. I’ve never been one to uphold the sanctity of grammar. “It’s a shift in the language of academia!”, someone read aloud from a Google AI explanation, noting how this trend is taking hold in academic circles. “Nouns can now become verbs!” was exclaimed. “Can you write this so we can understand it? With a little more clarity?” was demanded. I love to write, but frankly, I have a complete misunderstanding of the rules. The works in Outliners all hold a simultaneous respect for and irreverence toward rules and systems. As a verb, “to outline” refers to drawing the main shape or edge of something, describing only its most important aspects. As a noun, an “outliner”– often referred to as an outline processor– is a type of software that creates a structure for a text document. For this exhibition, I imagine the word constantly oscillating between the two parts of speech, generating its own sense of structure and understanding. 1 ***Outliners2 —-------------------3 1. Phyllis Baldino4 2. Max Guy5 3. Ellie Rae Hunter6 —-------------------- Though I am not a user, I find this system fascinating. An outline within an outliner can contain as many topics as desired. When loaded into an outliner, it can be collapsed or expanded to show as many or few thoughts as needed– creating an architecture that is both vacuous and compact. Max Guy’s sculptures, made from Epson scanners and bookbinding boards, create interior spaces where documentation is intrinsic to their structure. Through his improvisational scanning process, which results in the inkjet prints, space is both expanded and flattened by his physical interventions as a means to capture time, movement, and kinetic energy. Ellie Rae Hunter’s low sculptural reliefs explore how social and physical entities are compressed into our corporeal structures. Her work outlines an emotional posture with minimal information, probing what it means to bind bodies to a particular framework and the potential correlations between lived and theoretical representations of the body. Phyllis Baldino’s TraitFee examines the boundaries between privacy and exposure, identity, and anonymity. In her single-channel video installation, personal data, once private, becomes increasingly visible unless a fee is paid. Baldino’s work meditates on how systems, whether technological or bureaucratic, can outline and define us—and how these outlines expand or contract based on the control we exert, or fail to exert, over them.