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Works in this exhibition highlight the qualities that make trash trash: too commonplace like concrete, traces of previous use like wrinkles on fabric, cheap mass produced items like loofahs…
Glamorous Decay counters the rebirth narrative of “up-cycling” that rescues ugly and old objects by giving them new life.
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Artist and curator Jon Duff is the person who can't "watch TV without criticizing every ad that comes up". Jon translates his acute feeling of our current state of overabundance, whether in skyscrapers that compete against one another or global express shipping, through apocalyptic landscapes of gaudy, plasticky commodities gone defunct. He takes great satisfaction crowding his canvas with each detailed object after object in this apocalyptic pile, building momentum towards the magic that emanates things for artists and Internet users alike.
Sinejan’s mixed media paintings are an ode to the lived experiences of places that no article, photograph, or map can capture. Borders between two countries are never clear cut; languages become forgotten; some small towns cannot be reached by even mail, rendering it invisible. To parallel this constant process of unraveling, Sinejan erodes geographical boundaries on maps with stains of dirt, rust, spices, straw, and other materials collected from places she personally traveled to. She actually keeps glass jars of scrap metal on her studio cabinets that will one day turn into rust - a poetic process where even the most hardened, robust-looking materials eventually return to nature.
Jacqueline's work stems from her acute fascination with surfaces often overlooked in our natural and urban environments. With the use of paint, concrete and other building materials, she creates abstract, sculptural paintings that mimic these surfaces and call up nostalgia, ephemera, and the dichotomy between beauty and imperfection. Her paintings rely on themselves - on time and all the elements taking hold of them.
What if we saw nature not as distinguishable things like trees, mountains, and soil, but as a cloud of influences that surround us? Harkening back to her memories growing up in nature and a personal interest in Ecofeminism, Johanna's method of printmaking is in itself a dialogue with nature. In cyanotypes, the intentional outlines of base drawings intermingle with spontaneous factors like the angle, brightness, and hue of sunlight - even the canvas it is printed on is candidly frayed at the edges. In her other prints also, watercolor-like effects make even the ground appear buoyant.
Noriko Okada’s works are like siblings who look nothing alike. They’re like third cousins; like twins separated at birth; like people who you could have sworn were only children: each work is singular, but is related by a thread that runs deep yet just out of sight. Her amalgamous artworks of paint, fabric, prints, and ceramic don’t shout their message out loud, but invite viewers in for a chat.
Gyan Shrosbree revels in her material. Like a third grader’s confidence outfit, her artwork weaves together bold color combos and a little bit of glitter in multimedia textile-like works. Gyan works intuitively and never on one piece at a time. Moving back and forth between works in a series, she carries out marks and movements while bouncing from one to the next, keeping the series related and each unique piece from being overworked into overcomplicated shreds. Most importantly, her process ensures that she continues to have fun and is connected to her art, which draws on the colorful moments of her everyday life.