FOLD and Cafe Sauce present:
BLOOD FEAST FOR THE MIND: Psychogenic phase transition portends the entity-nonentity.
Friday, April 29th, 7pm – 11pm
During Stewart Losee’s solo exhibition Kabinet Materia.
Please join us at a very special event, a pre-premiere of FOLD’s new play MIND. Inspired by French poststructuralism/
Followed by a delicious cannibal feast….
Presented by FOLD
Written by: Eli Epstein-Deutsch, Ben Rosenberg, Etienne Pierre Duguay
Costumes by: Ben Rosenberg
Additional set design by FOLD
Solo Exhibition of work by: Stewart Losee.
Directed by Etienne Pierre Duguay
Losee’s work has long tread the line between so-called naïve and ‘high’ art, believing that both may offer up a mirror to the human psyche, illuminating the algorithms of raw desire. The works at KABINET MATERIA largely consist of gouache over wooden relief. Losee cuts the reliefs utilizing a CNC router, and mixes all of the paints himself to achieve a highly-saturated palette. Evoking digitally-oriented subject matter through traditional materials, Losee parodies the influx of would be folk artists into the new medium of the Internet. Large-scale facades have been substituted for the walls and floor of the gallery so as to provide an environment which the remaining works can inhabit, suggesting an installation arranged like a hypertext. A picture in a room can represent a portal to another room: worlds within worlds strung together with repeating motifs.
Nous (/ˈnuːs/), sometimes equated to intellect or intelligence, is a philosophical term for the faculty of the human mind which is described in classical philosophy as necessary for understanding what is true or real.
Gastro- is a common English-language prefix derived from the ancient Greek gastros (“stomach”).
Phago- Word Origin: a combining form meaning “eating, devouring,” used in the formation of compound words.
Philia (/ˈfɪljə/ or /ˈfɪliə/; Ancient Greek: φιλία), is one of the four ancient Greek words for love. In Aristotle’s Nicomachean Ethics, philia is usually translated as affection. The complete opposite is called a phobia.
Catering by #cafesauce
Devour psychic flesh with us
March 19th – May 1st 2016
Saturday March 19th, 6PM
Opening Hours: Saturday and Sunday, 12PM – 6PM, and by appointment
Good Work Gallery is pleased to present ‘KABINET MATERIA,’ an exhibition of Stewart Losee’s most recent work.
Losee’s work has long tread the line between so-called naïve and ‘high’ art, believing that both may offer up a mirror into the human psyche, illuminating the algorithms of raw desire, and exposing the human subject left to their own devices. His art is informed by interests in the culture of whittling as a hobby, 60s-era acid art, and industrial design. It has manifested most notably in the mediums of painting, installation, and various types of woodwork.
In KABINET MATERIA, Losee’s work provides a crucial link between traditional folk art practices and more recent folk art trends made possible by the Internet. As a source of inspiration he has returned to some of the earliest creative endeavors of his life – his own childhood experience of playing with Bryce 3D, a first-wave 3D design software from the mid-90s that for him provided a portal to the fantasy worlds of pristine landscapes, textured orbs, planes of water, and reflective golden avatars that other consumers also created within the program, a surreal mindscape of the collective user. Losee believes the manifestations of their most ideal hopes, dreams, and desires confess not only to a profound bathetic vacuity, but also to an innate or programmed tendency for the esoteric, culminating as popular mysticism. Software developers termed this ‘user-generated content,’ while Losee calls it ‘fan art,’ and he has seen much of the same in following the trajectory of how immersed users respond to the interactive and creative media outlet industry, as can be seen in the virtual material culture of Second Life, and its endless fields of gray mists and low poly foliage.
The contents of KABINET MATERIA largely consist of gouache over wooden relief, Losee cut the reliefs utilizing a CNC router, and he mixed all of the paints himself to achieve a highly-saturated palette. Losee introduces the CNC router to an age-old process of wood carving, expressing digitally-oriented inspirations and subject matter through traditional materials, and parodying the influx of prospective folk artists into the new mediums of the Internet. The exhibition will be self-contained in that large-scale facades have substituted the walls and floor of the gallery so as to provide an environment which the remaining works can inhabit, suggesting an overall immersive installation arranged like a hypertext (as in hyper text markup language, HTML) simulation, where a word in a document will link to another document, or a picture in a room can represent a portal to another room: worlds within worlds strung together with repeating motifs.
Among the individual works selected for the exhibition are paintings depicting surreal simulations: a mirror falls into the ocean, a vaguely feminine silhouette rests upon polyhedra forms, a digital ‘coat of arms’ is generated from a manic shopping spree of virtual found objects; the paintings collapse three-dimensional environments into relief. There is also sculptural media: a walnut cut-off from a wealthy man’s table serves as an improvised voodoo doll, inscribed with Crowley-esque world play, and a large, motorized, multi-media pinwheel spins impressions inspired by hypnotic light projections of deep sea creatures and psychedelic landscapes.