Heaven is close enough when clarified. But are you prepared to touch it?
I just keep on walking until my shoes come undone
I’m afraid I might sprain my Achilles heel
My hands stay grasping at straws and instant-nows and not-yets
Encoding a spirit or being overcome by predestination
Repeat repeat repeat repeat and the New could still emerge.
Francesca Facciola’s paintings are a window into the artist’s anamnestic capabilities. She grounds her work in sublimated memories and surrealities. I Have Been “Sinking In” for Eight Years Now confronts the viewer with Captain Jack Sparrow’s outstretched, disembodied palm afflicted by The Black Spot. Beyond the iconographic candor resides the painterly operations of sinking in and oiling out. Facciola celebrates the manipulation of medium ratio and comes to terms with her own methodology.
Will Sheldon wields an archival dexterity, culling from a bevvy of landscape blog pages and multi generic novels. He embraces the precedents of art historical figures such as Ull Hohn and Marty Bell by indulging in vestiges and obscuring landscapes.
Yasmin Kaytmaz orients her works around notions of opposition such as decay and rebirth. She reignites histories in order to interrogate patterns and conceive of progress. Today as Yesterday settles into her world nicely, as precarity and fortitude are juxtaposed by way of the gate’s perceived durability and the fragility of the limbs.
The duo behind Wretched Flowers present unexpected vessels for floral arrangements. They’ve established a practice that engages with chimeras, monsters, and cyborgs as avatars tasked with demystifying processes of symbiosis and mutation.