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Welcome to Venison's Weekly Blog! Here you will find advice, show reviews, thoughts and short articles by the Venison Team. We welcome your input comments and thoughts in return! 
​Thanks for reading Venison Magazine!

Quarterly

Opening | Duality

11/5/2017

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Duality
A Solo Exhibition by Amabelle Aguiluz

Branch Gallery
1031 W. Manchester Blvd #3
Inglewood, CA 90301

Exhibition Dates | November 11th, 2017 - January 5th, 2018
Opening Reception  Saturday, November 11th, 3pm -6pm
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​Inglewood, CA ­– Branch Gallery is pleased to announce its upcoming exhibition, Duality, featuring new work by Amabelle Aguiluz. Aguiluz is a local fiber artist incorporating clothing and textiles in her fiber sculptures and installations. Duality will consist of several site-specific installations, exploring the concepts of light vs. dark and creation vs. destruction. The installations will be constructed from upcycled knitwear and previous yarn installations by Aguiluz.
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Free Form
Aguiluz’s method of unraveling existing garments and re-knitting them into different forms breathes new life into the material. This process provides a coherent rhythm of making that Aguiluz refers to as “a journey of transformation.” The repetitive motions of unraveling and re-knitting allows her to meditate on notions of self exploration, especially rebirth. The work in Duality references this rebirth, urging the audience to examine the material transformations in each installation.
​
The opening reception on Saturday, Nov. 11 will have a dance performance around 5pm. This reception also coincides with Inglewood’s Open Studios 2017 event, in which Branch Gallery is participating for the first time.
The Branch Gallery is a fiber art space in Los Angeles dedicated to exhibiting local artists. We provide opportunities exclusively for the fiber arts, lending a platform for artists to share their work and techniques with the broader L.A. arts community. The gallery is owned and operated by The Knitting Tree, L.A., a local yarn store located next door. We hope to bring more attention to  
fiber as a fine art, along with its presence as a craft, between the two spaces. Branch Gallery has recently received the 2017 Best of Inglewood award in the Art Gallery category (“Branch Gallery Receives 2017 Best of Inglewood Award”). The Branch Gallery is a project of The Knitting Tree, L.A., a fiber retail space located next door.

The Knitting Tree, L.A. is Inglewood's local sanctuary for fiber arts enthusiasts of all skill levels. We offer an extensive selection of high-quality yarns and supplies for knitting, crochet, spinning, weaving, and needle felting, as well as hands-on instruction by skilled artisans of diverse backgrounds. Our passion is contagious, inspiring beginners to embrace new skills, while challenging more advanced fiber artists to expand their creative horizons. Fertile soil for yarn enthusiasts of all strands to "Grow Here"! 
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Changes II
Amabelle Aguiluz lives and works in Los Angeles. Her practice incorporates clothing, textile, fiber sculpture, and installation processes that are presented as free form sculptures and are often incorporated into live performance, video, and photographs. She studied at Politecnico di Milano, Italy and graduated in 2011 from the Fashion Institute of Technology, New York BFA in Fashion Design. Aguiluz’s work has been exhibited nationally and internationally including the La Triennale Internationale des Arts Textiles in Outaouais, Canada.

@amabelleaguiluz
@branchgallery
@theknittingtreela
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Review | A Narrow Passage

11/3/2017

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A Narrow Passage
​Noysky Projects
​6727 ⅞ Hollywood Blvd
Los Angeles, CA 90028

Exhibition Dates | Oct 14th - Nov 12th, 2017​
Closing Reception | Sunday, Nov 12th, 3-6pm

A Narrow Passage at Noysky Projects

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Installation shot including James Gilbert's "It May be Time to Rethink the Way You Think"
Noysky Projects is tucked away between souvenir shops in the heart of Hollywood, Los Angeles. As you approach the building, you’re invited to walk down a corridor of shops, a seemingly narrow passage, where you’re met by a quaint water fountain. I​t’s as if A Narrow Passage was meant to be curated by Noysky Projects. If I’ve learned anything from Elizabeth Gilbert, it’s that the right concepts meet the right people at exactly the right time. The theme of concealment, constriction, and compression invite us to consider the restrictions laid upon each other socially and politically, whether mentally or physically.

Review by Nazish Chunara

You’re immediately immersed in the theme of the show when you arrive, which is the best way to experience art. It May be Time to Rethink the Way You Think by James Gilbert towers over you as you enter the gallery. With the use of wood, wax, rope, and hand dyed canvas - materials commonly utilized to create art, this piece explores the loss of it, whether by natural disaster or systematic oppression, creating the need for protection. This piece is comfortably overwhelming, questioning structure and safety with all its weight. It May be Time to Rethink the Way You Think acts as a barrier that provides comfort, but simultaneously makes you wonder if you should cross it and continue inside. 
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A Boat Rock // vinyl, plaster, metal chain, rope // 19' x 19" x 33" // 2017 // Lana Duong
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Unititled (Ground) // vinyl, tuffstone, strapping // 12" x 14" x 18" // 2017 // May Wilson
​From Lana Duong’s A Boat Rock, hanging freely but tied at its waist acting as a buoy, that itself needs saving, to Katya Usvitsky’s Connection, which alludes to the body with its stocking weighed down by what look like molecules, to May Wilson’s Untitled (Ground), literally on the ground and easy to miss in its dark and neutral color, as if a person was to curl up into a ball and make itself as small as possible, you can see that they are each waiting to expand - waiting for that moment they will be given permission to breathe.
Jenny Rask’s Clear Baby, created with spandex, tulle, salvaged cord and wool -- all of which we wear on our skin in some way, and Megan Mueller's Ssssss, created with hydro dipped frame and rope, materials that sound like they could be found in the shed in the backyard, make you want to touch your skin to explore whether it's tightening or shedding, or compressing into a surface of softness or roughness.
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Clear Baby // spandex, tulle, salvaged cord, wool // 19" x 11" x 4" // 2017 // Jenny Rask
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Sssssss // hydro dipped frame and rope // 24" x 14" x 1.5" // 2015 // Megan Mueller
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on or off (documentation is underway) // archival pigment print // 30" x 40" // 2017 // Jenalee Harmon
​Jenalee Harmon’s on or off (documentation is underway) is bright and so very immediate. The person shrouded in red satin hovers over something, and whether they're ready or not, the photo will be taken. This sculpted-like figure echoes a sense of concealment tied to a world that will keep rotating, no matter what.

Nicolas Shake’s works, as stated by the artist, begins as "theatrical in nature..." and broadly stated, is influenced by the communities in Los Angeles. TPV:EGG.1.2017 triggers the feeling of being bandaged, building with layers upon layers, action upon action, and when the light is just right, you can see it shine through an indentation at the bottom right.
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Connection // nylon, fiberfill // 40" x 10" // 2011// Katya Usvitsky
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TPV:EGG.I.2017 // polycaprolactone, petroleum, palm frond // 44.5" x 37.75" x 6.5" // 2017 // Nicolas Shake
The varying textures next to each other give way to a roller coaster of experiences in one room. ​​The use of material is fascinating, as most of these pieces do not use traditional or commonly used art materials to convey message or feeling. This is a show not to be missed. ​A Narrow Passage runs through November 12th, with a closing reception on Sunday, November 12th, 3pm - 6pm.

Press Release
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Opening | A Sense of Things

10/11/2017

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A Sense of Things
presented by Durden and Ray & Paper
1923 S. Sante Fe Avenue
Los Angeles, CA 90021
​
​Opening Reception | Saturday, November 4th, 2017, 4pm -7pm 
Exhibition Dates | November 4th - November 25th, 2017
Gallery Hours | Tues - Sat 10am - 6pm

FOR IMMEDIATE RELEASE — The Sense of Things follows on from the exhibition The Surface of Things presented at PAPER gallery in Manchester over the summer. That exhibition drew inspiration from Piet Mondrian’s 1911 scribble on a note in his sketchbook, "The surface of things gives enjoyment; their interiority gives life." This was the starting point that led him inexorably towards a pure abstraction in the years that followed. 
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Sharon Leahy-Clark // Ghost Hand // watercolor and ink on hanmade paper // 40 x 34cm // 2017
​As might have been anticipated, this move towards abstraction did not hail the death knell of figuration in painting and drawing, particularly in those artists who strive to challenge and conceptualize a figurative practice.​ The Sense of Things, therefore, attempts to represent a group of contemporary artists, whose work has emerged through the 20th century rhetoric that sought the death of realism swiftly followed by painting. In no way is this exhibition anti-abstraction; instead the work presented here has developed from the symbiotic dialogue of abstraction and figuration in contemporary painting. These artists are adept at shifting between the two poles of abstraction and figuration as they seek to find their own language within painting and drawing, whilst simultaneously providing a commentary on the society in which they live and work. ​
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David Leapman // Breath be rude // watercolor on paper // 22 x 30" // 2017
This exhibition also comes out of a dialogue between the USA and the UK and Ireland. Never before have the populations of these two countries become more polarized. In a climate of openly hostile, far right extremism, now more than ever is there a need for artists to speak out. Within the work of these artists is a desperate need to voice their concerns. Yet there is no sloganeering, each artist has subtly embedded their concerns within the surreal, the abstract. They challenge the audience to seek out their meaning and engage in dialogue. These are dreadful times, yet there is a spark of hope below the surface of things, a sense of things in motion and transition. ​
The Sense of Things showcases the work of established, mid-career and emerging artists, all of whom believe passionately in the capacity of painting and drawing to offer a purposeful means of examining the world and our relationships, our exteriority and interiority, and meaning beneath and beyond the sense of things.
Featuring works by:
​Tom Dunn, Jack Duplock, Roni Feldman, Jon Flack, David Hancock, Thomas Wittaker Kidd, Ilona Kiss, Paraic Leahy, Sharon Leahy-Clark, David Leapman, Richard Meaghan, John Mills, Sarah Sparkes
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Paraic Leahy // The unknown part of the self // watercolor on paper // 65 x 50 cm

Facebook: @DurdenandRay
@PAPERgalleryManchester
Instagram: @durdenandray
@papergallerymanchester
Media Contacts: Dani Dodge, dani.dodge@gmail.com
 Sean Noyce, sean.noyce@gmail.com
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Opening | A Narrow Passage

9/29/2017

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TPV:EGG.I.2017 // Polycaprolactone, petroleum, and palm frond // 44.5” x 37.75” x 6.5” // 2017 // Nicolas Shake
​A Narrow Passage
Noysky Projects
6727 1/2 Hollywood Blvd
Los Angeles, CA 90028

Opening Reception | Saturday, October 14th 3 - 6pm
Exhibition Dates | October 14th - November 12th, 2017
Gallery Hours | Thursday - Saturday 12pm - 6pm ​or by appointment

​FOR IMMEDIATE RELEASE — Noysky Projects presents A Narrow Passage, a multidisciplinary exhibition that explores themes of constriction, compression, and concealment as a way to relate to personal biographies. Abstract works from A Narrow Passage are comprised of materials that twist, turn, choke, or smother to the point of entropy, while others have approached constriction in a more gratifying way, like the euphoric sensation of pleasure derived from pain. 

Artists have used the compression of space as a visual device to relate  to the body for thousands of years. Ancient Egyptians wrapped the body in ornate sheaths that accentuated the unique forms of the individual, while the Japanese developed shibari during the Edo period as a way to decoratively display prisoners with bondage. Twentieth-century post-minimalists like Eva Hesse and Jackie Winsor put the body back into abstraction, using hands-on processes and tactile materials that actively rejected the impersonal qualities of the minimalists.
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Mainmise // Spandex, cotton, salvaged wool yarn, polyester swim suit remnants, polyfil, thread // 16.5” x 13” // 2017 // Jenny Rask
Some of the works in A Narrow Passage relate to the quirks of the body, straddling the line between fragility and rigidity, using irregular, organic forms. Others have used tension to reveal internal conflict, illuminating our efforts to adapt to our new political realities. 

​Moreover, the works in 
A Narrow Passage touch on core tenets of materialism, the theory that all objects are alive because of their capacity to make a difference in the world, influencing each other in a complex web of interrelationships. These works can be seen as a bridge between animate and inanimate objects, combining to produce effects that are both dramatic and subtle.
​Participating artists: 
​
Lana Duong, James Gilbert, Jenalee Harmon, Megan Mueller, Jenny Rask, Nicolas Shake, Katya Usvitsky, May Wilson
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It May Be Time to Rethink the Way You Think // hand-dyed canvas, polyester rope, wood, wax // 88” x 40” x 27” // 2017 // James Gilbert
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On or off (documentation is underway) // Archival pigment print // 30” x 40” // 2017 // Jenalee Harmon

Curated by Sean Noyce
Contact: info@noyskyprojects.com

@noysky_projects
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Stanford Open Studios

9/20/2017

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Stanford MFA students are hosting Open Studios this Sunday, September 24th from 1-5pm. Snacks and Drinks will be provided throughout the studio spaces! Come on down and see what these participating artists have been up to! 
RSVP

Participating Artists:

  • Amber Imrie-Situnayake
  • Livien Yin 
  • Joe Ferriso
  • Sally Scopa
  • Sean Howe
  • Stephanie Sherriff
  • Neil Griess
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Joe Ferriso
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Sally Scopa
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Stephanie Sherriff
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Amber Imrie-Situnayake
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Livien Yin
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Neil Griess
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Sean Howe

Stanford Studios are located at: 175 Searsville Rd, Stanford, CA

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PST: LA/LA

9/6/2017

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​Pacific Standard Time: LA/LA is a Getty-led event aiming to explore Latin American and Latino art in dialogue with Los Angeles, exhibiting in institutions all across Southern California. Here are a few shows in conjunction with PST: LA/LA that we're itching to check out, ( in no particular order.) Be sure to check out their website for all participating galleries.

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This Too Shall Pass
Steve Turner
September 16th - October 28th

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​Dysfunctional Formulas of Love
The Box
September 17 - November 4

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Keeping it Brown
BG Gallery
September 9th - October 8th
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On Going Home
Charlie James Gallery
​
September 2nd - October 14th
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Aztlan: A Sense of Place
dA Center for the Arts
October 14th - January 28th
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The Unconfirmed Makeshift Museum
Klowden Mann
Oct 21st - November 11th
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Dismantling
1301PE
​
September 9th - October 21st

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El Hambre Como Maesta/Hunger As Teacher
Commonweath & Council
September 9th - October 21st​

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Eduardo Sarabia: Drifting on a Dream
The Mistake Room
September 16th - November 18th
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Laura Aguilar: Show and Tell
Vincent Price Museum
​
September 16th - February 10th
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G.S.F.C. 2.0 (Geometical Sci-Fi Cyborg)
Cherry and Martin
September 12th - November 4th
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Retna
New Image
​Septemeber 23rd - October 28th
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Nervously Engendered
Coagula Curatorial
September 2nd - December 31st
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A Universal History of Infamy: Virtues of Disparity
18th Street Arts Center
September 9th - December 15th
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Condemned To Be Modern
Los Angeles Municipal Art Gallery
​
September 19th - January 27th
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Mundos Alternos: Art and Science Fiction in the Americas
UCR ARTSblock
September 16th - February 4th
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Gathering: Artist Zoe Childerley

8/10/2017

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Abrams Claghorn Gallery
1251 Solano Ave, Albany, California 94706
​
Showing July 5 - August 31, 2017
Recption: Saturday July 15, 5 - 7 pm 
Artist Talk: Saturday August 12, 5 - 7pm




​www.zoechilderley.co.uk

@zoechilderley
Zoe Childerley travels far and wide to capture images that tell the stories of man and nature. In her ongoing series, Dinosaur Dust, she explores the communities on outskirts of Joshua Tree, California. Check out Dinosaur Dust, now on view at Abrams Claghorn through August 31st and read her interview from our Spring 2016 issue to learn more!
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Dinosaur Dust // photograph // 12" x 12" // now on view at Abrams Claghorn

About Dinosaur Dust:

This body of work, called Dinosaur Dust, was made with the community based around the edge of Joshua Tree National Park in California during an artist in residence programme and subsequent visits.

It is an intimate portrait of a peripheral and charismatic community of the high desert,struggling to find meaning and moments of grace in a hostile environment. The work explores the encounters between people and nature, playing with light, impermanence and the faculties of seeing.

Working with the contrast of the black of the night and the blinding light of the day, this work investigates the narrative potential of photography in relation to its abstract capacities, bringing forth a reality that is simultaneously uncanny and unknowable. I am interested in landscape, and particularly in combining a desire to experience the‘sublime’ with the inexplicable seduction of the abyss.

​
In the American West everywhere has been conquered and exhausted, so people look to the desolate outposts and then to the heavens in search of the authentic wilderness. The images generate a powerful atmosphere and sense of place, one that is infused with the longing, uncertainty and expectation associated with the unseen.
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Petrified in Storyland Part II // White Horses
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Petrified in Storyland // In Memory of Arthur (Battle of Camlan site 1)

See the work!

gathering: a venison magazine retrospective
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Gathering: Artist Tyler Thrasher

8/9/2017

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Abrams Claghorn Gallery
1251 Solano Ave, Albany, California 94706
​
Showing July 5 - August 31, 2017
Recption: Saturday July 15, 5 - 7 pm 
Artist Talk: Saturday August 12, 5 - 7pm



​www.tylerthrasher.com

​www.tylerthrasher.storenvy.com
@tylerthrasher
We spoke with modern day Renaissance man, Tyler Thrasher a couple years ago in our Summer 2015 issue. Amber was drawn to his work after discovering their mutual interest in the Ozark Mountains. Read more about Tyler's work and stop by Abrams Claghorn to see Quartz Cholla!
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Quartz Cholla (detail) // mixed media // 1" x 9" x 1" // 2017 // now on view at Abrams Claghorn

About:

Nature and its respective curiosities. That is my current narrative and inspiration. My work has always spoken of and about the natural elements and microscopic ones ​that surround each and everyone of us, the tendencies for ​​humans to trace and follow curious and natural callings, and most importantly, the importance of curiosity and experimentation.
​​

For as long as I can recall, my work has revolved around these things, because I revolve around these things. I am driven by these elements, and in turn they are driving me.
Most of my time is spent exploring, reacting to, and prodding nature. Taking any chance I can get to hike, look for caves, find rare plants, dance alongside the fundamental principles of molecular chemistry, and following EVERY SINGLE ITCH. Every calling, whether it be a faint whisper or more of a dire screaming that wakes me up in the middle of the night, I answer them. This tends to come across as sporadic and chaotic in my work and what I "want to do" but it couldn't feel more natural and at peace. While scrolling through my site, you'll get little glimpses of that knack to answer every calling. Rather it be chemistry, illustrating, painting, photography, music, writing, you name it. If I need it, I do it.
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Quartz Cholla (detail) // mixed media // 1" x 9" x 1" // 2017 // now on view at Abrams Claghorn
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Quartz Cholla (detail) // mixed media // 1" x 9" x 1" // 2017 // now on view at Abrams Claghorn

See the work!

gathering: a venison magazine retrospective
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Gathering: Artist Spencer Merolla

8/8/2017

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Abrams Claghorn Gallery
1251 Solano Ave, Albany, California 94706
​
Showing July 5 - August 31, 2017
Recption: Saturday July 15, 5 - 7 pm 
Artist Talk: Saturday August 12, 5 - 7pm




www.spencermerolla.com
@spencermerolla
Nearly a year ago we spoke to Spencer Merolla about her art that utilizes worn fabrics, human hair and several other materials to explore our relationship with grief. In our Autumn 2016 issue, you'll learn about her earlier works including Hairworks and Funeral Clothes. You can see Enfold now on view at Abrams Claghorn as part of Gathering: A Venison Magazine Retrospective, through August 31st.
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Enfold // human hair, polyester film, acrylic on board // 7" x 9" // now on view at Abrams Claghorn

Artist Statement:

My work is concerned with bereavement: the tension between public and esoteric grief, social customs and material culture of mourning, and objects as repositories of memory which both retain and transmit meaning. Among the media I work with are human hair, clothing, and found photographs.
Funeral Clothes Project: After a Fashion
​This series is made from clothing worn in mourning. Inspired by a personal experience with a dress I wore to my mother’s funeral and could never bring myself to put on again, I asked family and friends whether they too had clothing too tainted by association to wear. Slowly I began collecting clothes–sometimes decades old–that had languished unworn in the backs of closets, too distressing to wear and too sentimental to just throw away. Handling these testaments of loss is a powerful experience, as every garment comes with a story. Joining them together allows for the creation of a symbolic location in which otherwise esoteric griefs become public and communal.
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After a Fashion I (detail) // clothing previously worn to funerals, foam, batting, thread // 2016
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Six word Novel // clothing previously worn to funerals, foam, batting, thread // 36" x 65" // 2016
Hairwork: Mourning Art for Moderns

This series takes the Victorian women's practice of sentimental hairwork as its jumping-off point. For the Victorians, mourning was a very public act. Rather than a esoteric emotion or an embarrassment, grief was a popular motif for the arts and fashion. What strikes modern sensibilities as mawkish and overly sentimental behavior was, at the time, considered proof of a person's sincerity and morality. Ornamental hairwork, painstakingly crafted from the hair of loved ones, was a fashion that insisted the wearer embodied these virtues. This work plays with the tension between sincerity and emotional performance, imagining a contemporary practice in which moderns might socially engage with death's physicality. The dissonance of the craft (when 
transposed onto the emotional and aesthetic landscape of our times) draws attention to the ever-shifting boundaries of permitted public display.

​That the hair must be severed from the body to be worked in this fashion is a compelling aspect of the practice for me. With few exceptions, the provenance of antique hairwork is now unknown. As a result, it loses its essential quality of referring to a specific person, while still being a distinctively “personal” object. In a sense, the story of hairwork is a testament not of our capacity to remember our lost loved ones, but of our ultimate inability to hold onto them.
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Blue Eye, Brown Eye, Dark Brown Eye (composite image of three pieces) // human hair and acrylic on paper // 4" x 4" each // 2014

See the work!

gathering: a venison magazine retrospective
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Gathering: Artist Skye Livingston

8/6/2017

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​Abrams Claghorn Gallery
1251 Solano Ave, Albany, California 94706

Showing July 5 - August 31, 2017
Recption: Saturday July 15, 5 - 7 pm 
Artist Talk: Saturday August 12, 5 - 7pm




​www.skyelivingston.com

@skyeliving
Skye Livingston joins Gathering: A Venison Magazine Retrospective with Not Quite a Mountain View, on view at Abrams Claghorn through August 31st!

Read Jennifer's interview with her in our Spring 2015 issue where they discuss her delicate works inspired by the body.
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Not Quite a Mountain View //wood, milk paint, silk organza, artist's hair, gravel, pins, nails, tracing paper, tape, thread, shrink wrap // 5.75" x 2.75" x .75" // now on view at Abrams Claghorn
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Not Quite a Mountain View //wood, milk paint, silk organza, artist's hair, gravel, pins, nails, tracing paper, tape, thread, shrink wrap // 5.75" x 2.75" x .75" // now on view at Abrams Claghorn

Bio:

​Skye Livingston is an interdisciplinary artist working with textiles, paper, and organic materials. She has received several awards for her work, including “Best of Show” in the Kansas City Art Institute’s 2012 BFA Exhibition, an ​award juried by ​artist Andres Serrano and director of the Nelson-Atkins Museum Julian Zugazagoitia. Her work is included in the collection of The Wichita Center for the Arts in Wichita, KS as well as numerous private collections. She has completed several residencies including the Artist in Residence program at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. She received her BFA in Fiber, and BA in Art History from the Kansas City Art Institute and is currently maintaining her studio practice in Ashland, W
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Citrus Paradisi: of flesh & skin // including: grapefruit liqueur, grapefruit soda, grapefruit juice, slices of grapefruit, grapefruit flavored candy balls, and candied grapefruit peel

Artist Statement:

My work utilizes skin-like materials and recognizable motifs to rearrange the concept of home. Through elements oftranslucency, fragility and repetition, I investigate the idea that our homes and our identities are enmeshed within each other, aswell as individually faceted: we create and discard them through a psychological process of growing and shedding skins. Byutilizing repetitive processes and creating collections of subtly unique multiples, I aim to depict and memorialize this overlapbetween mental and physical space, and consider each piece a small monument, both personal and universal.

See the work!

gathering: a venison magazine retrospective
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