All posts by scottpgoodman@gmail.com

The Sputtering, Human-Shaped Machine, January 13th – February 19th – content

machine

 

GOOD WORK GALLERY presents: “The Sputtering Human Shaped Machine”

Curated by: Jerry Blackman

Jan 13 – Feb 19th
Opening reception Friday, Jan 13th, 6 – 9 pm

Featuring work by:

Phillip Birch
Alex Bunn
Nathaniel Lieb
Maya Manvi
Deirdre Sargent

There is a trope within the science fiction film genre where a seemingly human character is revealed to be an android. This is done through any number of techniques: in the Terminator films, the human flesh is burned or blasted off to reveal a shiny chrome robot skull. In the Alien franchise the androids are more fluid-based, and the contrast between the mechanical and the organic forms is more subtle. Some of the androids in Steven Spielberg’s A.I. and similarly in Michael Crichton’s Westworld open cleanly with doors pivoting elaborately at previously unseen seams. Whatever the case, the formal punch of this image is consistently seductive, terrifying, and saturated with visual power and metaphor. It is the moment that our fantasies collapse. It’s the material of a thing’s manufacture articulating itself. A reminder of the ephemerality of all things, and a dark proposal for our frail human futures.

For The Sputtering, Human-Shaped Machine, I’ve asked five artists whose work I know deals with both materiality and science-fiction-themes to consider this prompt and respond with a work however they feel is appropriate. The idea of skins and membranes is pervasive throughout the show, as is the motif of a work’s infrastructure being activated. Phillip Birch’s bust of Constantine quite overtly positions an interior narrative in conflict with an exterior shell. Here Birch is riffing off of the fringe-conspiracy-culture claim that some of primitive civilization’s notable and influential accomplishments might have in fact been the doings of aliens. His response to this is to posit that the modern world too might have had some of it’s figures hijacked by alien intelligence. Constantine, who was the first Roman Emperor to convert to Christianity and, in turn, promote its spread through Europe, is seen here as a hollow skin with an elaborate, cosmic warp within it: like a puppet with an unknowable intelligence at the controls. Alex Bunn’s image similarly plays with the ambiguity of boundaries and the relationship between vessels and what they might contain. Just on the periphery of representation, Bunn builds intricate environments and photographs them for large scale so what we see might be from under a microscope or from an airplane window. Taking cues from medical equipment, horror films, and architectural models, Bunn conjures harrowing moods latent with foreboding and panic. The formal play between surface and interiority is pursued again in Nathaniel Lieb’s ceramic pieces. These barnacle like constructions hang in the gallery like some sort of alien fungus, slowly accumulating and growing to take over the spaceship. Their dirt colored skin provides the perfect incubator for the incongruous textures within. Lieb is a seasoned maker of things often taking simple forms, processes, or materials and pushing them to their limits to arrive at potent metaphors. Maya Manvi’s video Baptismal Font splices differently textured stories ranging from the mythological to the info-graphical in exploration of how bodies arrive at their humanity within the fray of language, image, sound, and science. The work weaves together a brutalist 1970’s water park, the rituals of cells as they collapse breast milk canals (and the ironically dilapidated lab they are studied in), the sculpting of reality TV editors, and a story told throughout 60 years -when, once, a man was cured of his childhood asthma by swallowing a live fish. Together these vignettes explore how soft slippages, decay, and accident make up the machinery of being human. The photographic triptych and companion portrait are part of a larger ongoing project by Deirdre Sargent about social media star Valeria Lukyanova, ‘The Human Barbie Doll’. Lukyanova claims to be an alien life form many thousands of years old who has inhabited scores of human hosts. In interviews between Sargent and her muse, who resides predominantly in Mexico and communicates in Russian through her husband’s broken translation, she continually refutes the possibility of her death. Her highly manicured persona along with her 424k Instagram followers offers some version of this proposal, but the utopian fantasy shows growing signs of weariness as the inevitable rises like the tide.

-Jerry Blackman

Phillip Birch, (b. 1978, Detroit, MI) received his BFA from the College for Creative Studies, Detroit. Recent solo exhibitions include Entering God Mode at Essex Flowers, NY and Master Dynamic: Frontier at Lyles and King, NY. He also recently participated in NY’s Sculpture Center’s annual InPractice open call juried exhibition Fantasy Can Invent Nothing New. Birch is adjunct professor at The City College of New York, and currently lives and works in Brooklyn, NY.

Alex Bunn, (b. 1975, London, ENG) lives and works in London and Oslo, NO. His first institutional solo show opened at Trafo Kunsthall, Oslo in 2016 to national critical acclaim. Previously, his work has been exhibited at the Frieze Art Fair, The Royal Institution, and the Victoria and Albert museum in solo shows in London, Oslo, and Oakland as well as group shows in London, New York, Stockholm, Oslo, and Tokyo . His work has also appeared in Aesthetica, I-D, and Nature, among others.

Nathaniel Lieb, (b. 1963, Boston, MA) received his MFA from CUNY Brooklyn College, NY and his BFA from Syracuse University. Exhibitions include Morongo: AZ West’s, High Desert Test Sites, Joshua Tree CA, Governors Island Art Fair, Governors Island NY, Gimme Shelter: Woodstock Birdcliffe Guild, Woodstock NY and IN-SITES: the intersection of art and architecture, South Orange. He was most recently artist in residence at Amherst College, MA.

Maya Manvi, (b. 1987, Los Angeles, CA) works with sculpture, text, and moving image. Their works have been exhibited in San Francisco, New York, and elsewhere. They are currently co editing/curating a year long archiving project of OUT/look an intersectional 1980’s queer publication, that will be exhibited in October of 2017. Manvi received an MFA in sculpture from the Yale University School of Art, New Haven, CT in 2014 and a BFA from UC Santa Cruz, CA in 2009. They are a visiting professor of Sculpture at Caldwell University and lives and work in New York.

Deirdre Sargent, (b. 1985, Boston, MA) received her MFA from Yale University in 2013, and her BFA from Pratt Institute, Brooklyn, NY in 2008. Recent solo and two-person shows include You Should Know When to Laugh at 315 Gallery, NYC, Island Girl on Video, AC Institute, NYC, and Mod Coms at The Arta Center Gallery, MA. She is adjunct professor at The College of New Jersey and currently lives and works in Brooklyn, NY.

Vital Enhancements: June 25th – July 24th – content

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Alexander Heffesse Coconut Oil (Any Given Hangover), 2016 aluminum, wax, footballs, tetra paks, hardware Dimensions variable

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Signe Pierce, Neon Palm, Limousine Dream, and HyperspFace. All Photographic prints, 18 x 24 in. 2015.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Ilana Savdie Facewaver No. 2, 2016 Oil on canvas 46 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Ilana Savdie Purple Gloves, 2016 Oil on canvas 44 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Ilana Savdie Purple Gloves, 2016 Oil on canvas 44 x 48 in. Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in. Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Signe Pierce Neon Palm, 2015 Photographic print 18 x 24 in. Signe Pierce Limousine Dream, 2014 Photographic print 18 x 24 in. Signe Pierce HyperspFace, 2015 Photographic print 18 x 24 in. Ilana Savdie Facewaver No. 2, 2016 Oil on canvas 46 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Alexander Heffesse Coconut Oil (Any Given Hangover), 2016 aluminum, wax, footballs, tetra paks, hardware Dimensions variable

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Cecilia Salama From the permanent collection (II), 2016 Digitally printed tile, grout, house paint 36 x 12 x 1 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Cecilia Salama Part of our routine. 2016 Pull-up bar, latex, acrylic, iridescent medium, digitally printed rubber mat 36 x 60 x 36 in

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper. Signe Pierce Neon Palm, 2015 Photographic print 18 x 24 in. Signe Pierce Limousine Dream, 2014 Photographic print 18 x 24 in. Signe Pierce HyperspFace, 2015 Photographic print 18 x 24 in. Ilana Savdie Facewaver No. 2, 2016 Oil on canvas 46 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Ilana Savdie Purple Gloves, 2016 Oil on canvas 44 x 48 in. Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in.

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper

“Vital Enhancements”  Curated by Sara Blazej  June 25 - July 24th, 2016
“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

“Vital Enhancements” Curated by Sara Blazej June 25 - July 24th, 2016

Left to right. Ilana Savdie Sarah Palin, 2016 Oil on canvas 44 x 48 in. Aria MacManus + Raine Trainor Sheer Udder Brilliance™, 2015 Vinyl, aluminum, plastic, steel, toothpaste, lotion, lubrication, sanitizer, ink on paper. Alexander Heffesse Coconut Oil (Any Given Hangover), 2016 aluminum, wax, footballs, tetra paks, hardware Dimensions variable

Good Work Gallery presents: “Vital Enhancements”

Curated by Sara Blazej

June 25th – July 24th
Opening reception Saturday, June 25, 6 – 9 PM

Featuring work by:
Alexander Heffesse
Aria MacManus & Raine Trainor
Signe Pierce
Ilana Savdie
Cecilia Salama
With performances by Allison Brainard and Emily Oliveira

Vital Enhancements brings together artists exploring the relation between anxiety, optimism and the consumer impulse central to commercial Wellness culture. 

In her 2013 monograph Cruel Optimism, theorist Laurie Berlant describes optimistic relations as mobilizing forces that pull us out of ourselves and into the world, ostensibly leading us closer to our ultimate desires. These relations may involve food, a kind of love, or simply a new habit which promises to induce an improved way of being, yet they stand to become toxic when the aspirational object impedes the overall aim that brought us to it initially. This dynamic, according to Berlant, culminates in a relation of “cruel optimism” fueled by cycles of hope, consumption, and disappointment. It is through the lens of this sentiment that Vital Enhancements looks at the mechanisms driving commercial Wellness culture as we experience it’s growing influence on the physical and mental landscapes of modern life. 

Predicated on a rhetoric of improvement, perfection and longevity, the Wellness mentality best finds footing within individualist, consumer populations obsessively concerned with personal value and delaying physical and moral decay. As this mentality is easily commodified in a visual culture where desires are manifested through aspirational mass media and advertising, the notion of a more perfect self tends to find shape not in an evolved, abstract sense of well-being, but rather settles in various prescriptive consumer products and systems: anti-aging items, nutritional regimens, fitness programs, etc. This exhibition plays formally with these objects of optimism – each a well packaged promise within a series of promises made by an industry based on guaranteed results. It explores our subjective relationship to the things designed to provoke in us an excitement for a better self in a brighter future while habituating the impulse to buy and buy into.

The featured works draw on the visual language and materiality of Health, Fitness and Beauty products, deconstructing and recontextualizing familiar items of enhancement to reflect the unease and absurdity of being marketed one’s own self improvement. In varying ways they examine the roles of underlying neuroses, manufactured hopefulness and compulsive consumer behavior in cuing and commodifying a population’s appetite for “beauty, health and happiness.” Signe Pierce turns utopian marketing tropes in on themselves with advertorial visions of surreal dystopian spa interiors. Her photographs suggest spaces and apparel designed in another dimension for another breed of humans without affect, while Aria MacManus and Raine Trainor confront the anxieties facing the humans of now. They seek to alleviate the humiliation of routine body maintenance with HYGENIUS, a series of whimsical product innovations sleekly designed for discreet self care in the public domain. Of this series, they present Sheer Udder Brilliance, a multipurpose luxury purse which will be submitted for patent upon purchase. Alexander Heffesse’s wall sculpture also takes the form of consumer goods, but alternatively, his grocery store beverage display suggests availability for mass consumption. Heffesse’s melting gradient of Vita Coco bottles and halved football coconuts present a conversation between the physical properties of coconut oil and paraffin wax, disrupting our perception of the items we purchase and ingest beyond their highly palatable manufactured presentation. Cecilia Salama assembles work out items to weave a narrative around her obsession with a YouTube gymnast, connecting with her fantasy through the instruments and imagery on which she and her online viewers base her identity. In a move to reclaim commercial imagery for creative expression, Ilana Savdie digitally renders cosmetic facial masks into frenzied abstractions with the same Photoshop retouching palette used in their creation, ultimately transforming them into intoxicatingly vivid large scale paintings.

Sara Blazej

Brooklyn, NY 2016

NOUSTROPHAGOPHILIA: April 29th, 7pm – 11pm – content

FOLD and Cafe Sauce present:

NOUSTROPHAGOPHILIA

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/existentialism, the Mandala principle of Tibetan buddhism, and the Western hermetic tradition, MIND pits five projections of neurotic consciousness against each other in a doomed struggle for metaphysical supremacy and self-transcendence.

Followed by a delicious cannibal feast….

MIND
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
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KABINET MATERIA:
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.
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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.
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Catering by #cafesauce
Devour psychic flesh with us

 

POMOROCOCOFOMO April 17th, 2016 – content

POMOROCOCOFOMO FLYER

Sunday, April 17 at 7 PM

On this blessed Sunday eve we will explore the array of holes that can be found in the common human face. We will modulate their inputs, and optimize for maximum titillation. Prepare to consume a classical still life. Prepare to smell things and let your tongue move as if all words were onomonopias. Open your ears to babies crying, then babies singing through black wooden tubes, through Invisible Dave’s mouth. Let the gentle drums of Erik Z guide you over the placid waters of never-scapes. Let the hyper sentiment of Ziemba paint your capacity for emotion in a honey-like glue that will collect iridescent beetles over the duration of the evening. Join us in a modernist’s anti thesis. See your face in the dim reflection of the black greco-roman empire, and in your mind slowly dip all the monuments in crude oil. Join us.

Performances by
ZIEMBA
PLEASURECRAFT
DJ work by ETIENNE PIERE DUGUAY
Feel free to bring snack and drink
Free entry

Stewart Losee: Kabinet Materia, March 19th – May 1st, 2016 – content

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee, Temple
Stewart Losee, Temple

Stewart Losee, Temple

Stewart Losee, Temple

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016
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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

Stewart Losee: KABINET MATERIA, March 19th - May 1st 2016

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KABINET MATERIA
Production by: ESTÜ

March 19th – May 1st 2016
Opening Reception:
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.