April 1, 2017
My work explores the social, emotional and political states linked with the inability to experience sensations available to others. I create imagery and objects that reflect a longing for absent experiences. This primarily manifests in my practice through a
focus on our cultural obsession with emotional extremes, most notably those ascribed to happiness. I investigate happiness as a form of social control that prescribes correct lifestyles, pursuits, and modes of being. As a method to explore and lend representation to these ideas, my work manipulates color, light, clarity, familiarity, distance, and materiality. Colors are subverted, materials are dressed up in drag versions of themselves, stock images stand in as icons, and artificiality is simultaneously embraced and rejected.
Submissive Exhibitions is pleased to announce the opening for Marcela Torres' solo exhibition, Adaptive Restraint.
Statement from the artist:
Meditating on forms of reparation, my practice attempts to repair, transform and destabilize cultural ideologies that target and oppress “the other.” I enmesh the physicality of martial arts with the bastardization of political encounters using modes of collaborative healing to create performative situations that uncover the reality of the interpellations we reside in.
Submissive Exhibitions is pleased to announce the opening for Danielle Rosen's solo exhibition, Horizontal grace: H. R. 909 : Teeth cages : Cosmoscosmetics : PEACOCK (facsimiles of wild) : You : the prop + a fiction ; wanted to see how it would crumble, regarding fractures + artificial–– of or belonging to art : SOW Sec. 2. ; domestication and other notes on process ; or the reclamation of I ; the beautiful run off, run on : of or pertaining to X. lens poaching : surface ; breeding : fanning, w/e : a platform.
Rosen’s interest in the interrelationship of non-human animals and their human- animal counterparts propels her work: sculptural, textual, photographic, performative. Across various bodies of work and of beings, seemingly dichotomous concepts exist within one figure: sterile + soiled, human + animal, sensual + intellectual, fashioned + natural. Patricia Rose (created by Rosen) is a performative platform in which identity is a collaborative context, where humans intersect and are invited to perform. With Rose, collaborators engage in explorations of: body + voice, subject + monitor, human + animal, self + other. Rosen’s recent work continues her problematization of human cultural representations of animal(s), of self.
Submissive Exhibitions is pleased to announce the opening for Nathan Braunfeld's solo exhibition, How Do Worms Make History?
A pipeline emerges from the ground in rural Wisconsin; worms feed on the landscapes of Asher Brown Durand; wheat turns soil into cinderblocks; a car battery fills with artisanal Oklahoma sunlight; synthetic urine crystallizes in the floorboards; petcoke renders images of petcoke.
Behind and before a resolution in the exhibition space, my work is research –equally in the studio, as in texts, as in the field. My work is to know that knowing is contextual, relational, and political. My work is to poke holes, create ruptures, form fractures in historic and philosophic assumptions that create divisions between natures and cultures. My work works to destabilize assumed certainties in order to re-contextualize contemporary environmental practices and aesthetic productions. My work is in space. My work is pushing back against prescriptive, disciplinary, and abstracting systems that alienate body from world.
My work is to propose a de-natured ecology. My work is to show that ecological thinking must drift across disciplines of knowledge: the social, the technical, the political, the economic, the philosophic, the aesthetic. My work engages with contemporary thinkers who, unlike environmentalists of generations past, by and large have left their romanticism at the door. My work shows that an awareness of climate has proven the impossibility of dropping out; in this world there is nowhere to drop.
My work is to remain optimistic and ask, what can climate change?
Submissive Exhibitions is pleased to announce the opening for Robert Sebanc's solo exhibition, Goodbye Dondon.
While contrasting old and new materials, I make use of my observations and experience in the urban landscape, memories and nostalgia to challenge the perception of both meaning and history along with the physical transformation of the materials. Within each painting, installation and sculpture I want the viewer to be engaged and experience the work as both observer and participant. The materiality of the work plays an important part in this relationship, bringing to mind a familiarity with the urban environment memories, nostalgia and individual experiences within these topics.
Submissive Exhibitions is pleased to announce the opening for Dave Kennedy's solo exhibition, Image Object.
The subject matter of my installations is often drawn from my experience being born mixed-race in the Pacific Northwest. I grew up in an old World War II housing project, in Tacoma, WA. Many people of different ethnicities lived in my neighborhood. However, my mother is Italian and African and my father is Native American which meant that I didn’t look quite like one thing or the other, and it was common for people to ask me: What are you? This (objectifying) question is imbedded into my practice and my exploration of an expanded view into unseen subjectivities.
My work explores the space between reality and illusion. Where do appearance and truthfulness intersect? I ask that question more in the sense that what we see really depends on our own perspectives. I remember growing up in spaces other people did not want to be. Returning to these memories for me means attempting to reveal the marvelous that is often hidden in the less regarded aspects of life and extending the availability of alternate roles to the subjects, places and objects I am finding.
The results are compositions that are created to help magnify the layers of meanings made possible by our senses and perceptions. I do this in part because I believe that social constructs are stories that can be taken apart and told differently. In my most recent series, I have been remaking an image of an image, specifically layering in selected objects to change their dimensions and scale. I am interested in taking away blinders that can make “someone" into a predetermined “something". I do this as a meditation on disrupting the established ways we are taught to think that about seeing.
Contemplating my physical appearance includes thinking of it as an object, or rather how my personhood becomes objectified (or unimaginable). I see my body as a thing that has a name and casts a shadow — I believe that being of color in America involves a process of moving through and adopting from many different cultures. To define what's authentically black or even white, or anywhere in between for that matter is virtually impossible. As there are as many ways of ‘being’ as there are people. I have an understanding of myself as an amalgamation of many things that have been combined in to one. An existence that changes based on the context of the space it inhabits.
My work considers how day-to-day existence lends significance to places, objects, and things, elevating them through a process of familiarity. The details that I notice become representations of my reality. They represent both what they are and something else, at the same time. Such symbols, in my opinion, allow for a different way of seeing the self, not as a mirror but as an access point into an alternative definition of individuality. They act as elements that allow the viewer to explore and possibly complicate the narratives that are firmly affixed in normative presumptions.
Within my process, human subjectivities and more individualized identifications are seen as something that can become know-able. My works are metaphors for overcoming “Otherness”— more in the sense that when someone is seen as less than, or as an object, this perspective can then be appropriated and re-loaded with more poignant meanings that point towards agency and autonomy.
Submissive Exhibitions is pleased to announce the opening for Alex Tam's solo exhibition and performance, Fatherland
My current project, Fatherland, explores post-colonial hybridity in Western society, and more specifically the United States, by mining my own history. Though the work is developed from an
autobiographical stand point, it speaks to generalized, if not ambiguous, locales and languages that have been disrupted by cultural assimilation. This results in constant conflict between forms and space but also categorical markers of identity, such as race, gender, place, and economic status. Sifting through permutations of the modernist art canon, I examine this hybridity via material sources traditionally seen in Asian art and culture, i.e. rice papers, calligraphy, and inks, to create paper collages that at first reference the paper scrolls of ancient masters, and thereafter the mélange of posted bills, handprinted signage, and neon lights of urban areas. Throughout the current body of work the veracity of the artist’s history and ‘memory’ are questioned as form and space clash in the compositions. Other aspects of my art practice hone in on the fluidity of space, be they delineated by
notions of the State and border control, or geography and topography to create works that affect public space and perception. As an artist working to create affective space, my desire is to implicate the audience and even the most minute of political interaction and shared cultural moments.