March 18, 2017
The most recent body of work signifies a shift in the artist's practice toward the representational. Having not included the figure or recognizable imagery in her paintings in over ten years, it became important to make a mark that the viewer could identify with in a literal and emotional way. Representation, the body and recognition first appeared through texture; specifically, the marbling of sea sponges and bedrock. These textures led to food, numbers and eventually people. Plants, swimwear, a nude eating in bed and standing up, the artists' nieces playing, her mom counting money at her hair salon, a woman in the desert.
Submissive Exhibitions is pleased to announce the opening for Mark Reamy's solo exhibition This is How I Remember It.
Note from the Artist:
Slide film provides an amazing experience. Slides come to life in front of any kind of brightness. Slides convince you. Like readymade lightboxes, you can hold slides in your hand as they glow with sharp brilliance. Their tiny size commands curiosity and intimacy. It starts to feel like you’re holding a miniature version of what happened.
I believe every photograph is a memory, an exact moment of time and space. By combining photographs, I am conflating accounts, adding them together and forming new stories. Domestic interiors are overrun with something unexpected, something other. The incredibly banal shifts into the transcendent, and so on. I’m interested in the malleability of memory, how the present influences the past, and why we selectively remember or forget. I’m fascinated that our history is constantly changing, that something so seemingly concrete can slip away.
My art explores highly-maintained, yet hardly-used, public spaces. Some examples include: parking lots, cul-de-sacs, football fields, conference rooms and hotel beds. I’m interested in the terrifying, architectural uniformity I have found in these non-places. This is a phenomenon I call The Suburban Sublime. Regardless of location or original era, these spaces are seemingly timeless. I hope my work subverts our willing acceptance of these ubiquitous locales.
I investigate how to construct images and depict pictorial space. I engage the public through the use of multiple slide projectors, kinetic machines, double-sided projection screens, custom-made viewing boxes and lenses. I create a sense of depth that flutters like paintings, in and out, between conceivable and awfully flat. I’m interested in this kind of visual ambling and how it differs from the source material of photographs.
Submissive Exhibitions is pleased to announce the opening for Cassie Tompkin's solo exhibition Resist, Refuse, Repeat.
Cassie Tompkins’s screen-printed and dyed fabric monoprints of imagined environments capture the tableau of everyday phenomena. Using a language of geometric and organic shapes and the sensorial experience of color, she works as an improviser, balancing compositions through intentional and serendipitous marks. Through the demonstration of opposites, she fuses
elements found in design and abstract painting. This process employs both industrial and traditional craft techniques that magnify the beautiful and the grotesque. Her work is grounded on philosophical notions found in quotidian life — moments that blur boundaries between material objects and cognitive experiences.
Submissive Exhibitions is pleased to announce the opening for Wen Liu's solo exhibition Fragments.
Note from the artist:
I create sculptures that draw from commonplace materials and found objects to create a new context. My practice focuses on materials that are already saturated with meaning; while working with these materials I experiment with their physical limitations and symbolic idiosyncrasies. Like Spears, by combining scratched and scarred furniture legs - the wood, which died when it was cut down, grows again; individual stories are combined to build a monument of memories.
The process of transforming and reconstructing the objects through tracing, molding and casting explores subtle and unexpected contrasts and connections, that develop into innovative narratives – such as using latex to create a shed skin of the original object. It becomes a metaphor for my own metamorphosis from my cultural roots to an international purview.
About the work:
My interest in abandoned buildings is like an archaeological process into a city’s evolution of urban development. By casting material on Chicago’s abandoned church facades – color, weathered dust, and textures remain on the material, which I cut and reassemble into mosaic patterns reminiscent of Renaissance church floors. The work’s process takes the cutouts and transforms them from fragments of material to fragments of time. The title is the amount of time spent on the work.
Submissive Exhibitions is pleased to announce the opening for Nikki Renee Anderson and Nicole Seisler's exhibition Sticky Mass.
Nikki Renee Anderson
My sculptures are fantasy objects that explore cultural stereotypes about beauty, desire and femininity. The forms have reference to the female body and also other associations to sweets, fruit and flowers. I both participate in traditional roles and re-imagine them to create new roles. The forms present ideas of temptation and beauty. They are intended to draw a viewer to get closer to the forms and look as though they could be squeezed or licked. My sculptures are forms that flow, bubble, grow, explode, drip and ooze. Some of the pieces reference the form of teardrops or fluid. These pieces explore blood being squeezed from a wound or milk from a breast. Also, they relate to the idea of growth, multiplication and expansion.
My work is part of a hybrid movement emerging from ceramics, in which materiality and temporality are grounds for a conceptual framework. I embrace the haptic qualities of clay and use other malleable materials—such as plaster, chalk, rain, snow, and
sunlight—to create ephemeral public interventions that track and trace particular moments in time between people and place. Sometimes the installations absorb and erode in a manner of days, weeks, or months; in other instances the work exists as an
organized event for a specific duration. My work is at once sculptural, site-responsive, performative, and participatory. I directly engage others in my process and often position myself as ‘facilitator’ in order to question authorship and to blur the
overlapping roles of artist/viewer/participant/collaborator.
Submissive Exhibitions is pleased to announce the opening for Farnaz Khosh's solo exhibition Lost.
Statement from the artist:
As a woman from the Middle East residing in the United States, I have become curious about spiritual and political truths behind the ideas of culture and the sublime. My works revolve around the questioning of these truths, the contrasting position of man and the sublime, and my origin of being an Iranian. These questions charge me to find reason within the artworks to meditate on where man stands on this earth living in the presence of the sublime.
Drawing on the strong influence from my cultural background, I utilize the architectural structures and patterns that suggest ideas of paradise within the Islamic context. Through the use of natural materials such as soil, grass, sugar and natural dyes, I personify human fragility through these architectural sculptures to enhance the rawness of life man has.