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Persistence of Becoming
Exhibit dates: 23 September 2004-6 November 2004.
about the show
artist statements directions/hours contact
     
 
 
 
Sara Ashodian
"Identity Obscura"
Stoneware and terracotta,
907 individual objects
42" x 30" x 8"
 

Kasia Bytnerowicz
"Terra Nova"
Oil on canvas,
8" x 11",
2001-2

  Kathy Desmond
"Bed"
Installation-bed, bedding, rug, DVD video,
5' x 6' x 8', 2004
full image


  Judith Hugentobler
"Phantom Boy Portrait" (detail), Fabric, filler, stoneware,
28" x 10" x 10", 2000
full image
     
Francesca Maddulano
detail of "whenever there is a silence i think we are remembering him",
digital color print on aluminum
13" x 112"
full image
  Barak Olins
"Slight of Hand"
Two-sided photograph
on lithograph in plexi-glass and steel hinged frame,
7.5" x 11", 2003
full image
 

Lauren O'Neal
Still from "Can't Get Enough of That Wonderful Stuff"
Video
full image

  Sharon Pierce
"Box #4"
Mixed media
12" x 12" x 6", 2004
full image
     
David Politzer
"Bathroom, Johnson"
C-print
28" x 28"
2003
full image
 

Aaron Stephan
"Untitled (Camera Lucida 2)"
Platinum print and flies
made from Roland
Barthe’s Camera Lucida,
24" x 36", 2003
full image

  William Robb
"The Most Beautiful
Bartender in Town"
mixed media,
15" x 13" x 3.8"
2002
full image web
  Sand T
"The mind of space:
upper story",
mixed media on plexi panel,
11" x 11" (each panel)
full image web
           
Alex Metral
"A and B"
Digital Photograph.
Cultures incubated from
navel skin sample
14 x 16”, 2004
full image
           


about the show
Artists in "The Persistence of Becoming" explore the idea of the multiplicity of time: lost time, suspended time, continuous time, and the accompanying variations of identity that are within it. Working in mediums of painting, sculpture, video, assemblage, installation and photography, the participating artists investigate how our past, present and future are always in a state of decay, metamorphosis and regeneration. The point of remembering may not be to retrieve information, but to allow the self to endure, to sustain itself, over time. This process is elliptical, elusive, and sometimes contradictory: you remember what you wish to become.

artist statements
Sara Ashodian: email
“Identity Obscura”
Identity defined as: a) sameness of essential character in different instances b) sameness in all that constitutes the objective reality of a thing; the distinguishing character or personality of an individual
Obscura (from camera obscura): Literally a dark chamber; A collection of similar forms (wombs, pods?) each individual, each a dark chamber holding a separate view. The identity contained within reflects and absorbs the surrounding environment without defining its reality.

Kasia  Bytnerowicz: email
The delicate patterns of cracks in the sidewalk were the inspiration for the series Terra Nova. The paintings are life-sized pictures of portions of sidewalk. In the cracks in the concrete and the holes in the dead leaves we see moments in the process of decay. Decay is the essential process in transforming dead matter into new life. This gap is perhaps the greatest and least understood of all. The natural process of entropy is seen in once living matter and in inorganic concrete, emphasizing their entanglement. The synthetic order shaped by human hands is also digested by time into raw material.

Kathy Desmond
I use drawing and installation to create environments for reflection. In this work I ask questions such as: What happens when we age? How do we reflect on our life experience? Is the value of life in the perception of others? In this work, I am attempting to celebrate, question, and pay tribute to life through each individual’s experience.

francesca a. maddaluno
all we have are memories.
everything is a memory to us. every sensory experience. every breath. every emotion in the swirling vortex of a moment becomes memory. the instant we experience something it is already of the past. duration is based on perception. the duration of a memory is not only how long the moment was, but how long it will be, how long it will last in us as matter in our brains, how many times we recall it and the duration of that recollection. the memories may haunt us, consume us, or even just motivate us to the next moment... memory is just a meditation of what's past.
photographs function the same way. they remind us of the past and impel us into the future. they construct histories and narratives and experiences and interactions. like memories, photographs are subjective˜there is no singular truth, just a multiplicity of realities.
i make pictures just as i make memories. they are about my life, my family, my home, my realities.
they are about the people i encounter, the people i create, and the ones that i love...most of the time.

Alex Metral
Death is peculiar. People can, and generally do, view death with unease; an equally valid reaction is that of bemusement. Current cultural narrative permits mortality, however the arriving genetic revolution sees
death as yesterday‚s technology. Is death the greatest of all finalities, or is it simply an evolutionary adaptation? My work entails an exploration of this continuous peculiarity through the issues of life extension, aesthetics and immortality. Focusing on mutation- which fully replaces perfection- my work takes the form of nurtured bacteria colonies, haptic video projections, and garments fashioned from genetic and medical materials. Culture and Warmth come from a photographic body of work which has involved the colonization of cells from my body- the type that are generally removed while washing. The bacteria and fungi, (which now have a mixture of my DNA and their own), are grown in a protective climate and
nurtured. There is inherent continuity from constant mutation- as well as variations of identity.

BARAK LEVI OLINS
It may be that history is never more than remnants and fragments accumulated by inheritors of a past, retold in a sensible pneumonic. In my case, as a bread baker and a Jew, the history of the Holocaust still resonates in strange associations and allegorical discordance. I have descended through books, and in between, when turning the pages, I drift, however briefly, to knowing the impossible heroics of an unrecognizable life. I do not easily recognize the difference between the brick bread-oven I bake in and the brick crematoria of Auschwitz. In these pages, I grapple with what we are always capable of.

David Politzer: email
Iconic monuments to human struggle are everywhere. They are not made of precious materials, and they are not sites of homage or reverie. Rather, their circumstantial locations, and coincidental perseverance make them de facto monuments commemorating our presence.
Conversely, these constructions are reminders of our vulnerability as they are marked with the scars of time and nature. The laws of entropy pull on our creations, drawing their component materials back to the earth from where they came. In this way, these monuments commemorate the forces that are beyond human control.
Also beyond human control are the concepts of fate, luck, good fortune and the actions of other humans. So what happens when good luck runs out? Things fall apart. Lives change. We adapt and reassess. It is the aftermath of loss, misfortune and unpredictability that is the stuff of my photographs.
Through photography I explore the melancholy of forgotten and abandoned places and objects. I collect images of these items or places hastily left behind. They become a springboard for narrative, and a doorway into the lives of strangers. It is a sort of forensic archeology; an observation of the present to understand the past.
Homes is an ongoing project that started in 1999. It consists of (30) 30” x 30” color photographs of the interiors of homes in various states of use. Some are totally abandoned and have been for many years. Some have no permanent residents, but are frequented by animals, or teenagers looking for a place to party. Some are seasonal homes, and some are lived in year-round.
Owning a house is a fulfillment of the American Dream. It necessitates money, which implies financial success. Owning a house also satisfies one of the basic human needs for survival: shelter. Beyond that, individual homes take on powerful emotions we impose having lived in them. Some homes are so integral to family dynamics, that the houses themselves become a tacit family member.
These ideals are all lost when the houses are abandoned. There is a melancholy that exists; a sadness that clings to the walls, and lives in the objects that remain. It is found in the postulations about how these situations came to be and the lives of people who have moved on.

Lauren O'Neal
Lauren O'Neal works in a range media including drawing, photography, projected video, and sound. Her current work explores dialogue, anonymity, longing, frustration, and silliness. The video "Can't Get Enough of That Wonderful Stuff" is a narrative depicting the repeated, futile action of a woman in a trenchcoat. We sometimes push desire and stubbornness beyond their usefulness in absurd and often contradictory ways. O'Neal has exhibited her work at the Contemporary Artists Center (North Adams, MA), the Photographic Resource Center/Boston University and the Copley Society of Art (Boston, MA), and at the Instituto de Allende (San Miguel de Allende, Mexico). She has a studio at Vernon Street in Somerville and is
the co-curator of the "The Persistence of Becoming" exhibit.

Sharon Pierce: email
I create spaces that are accessed and viewed through a peephole. The peepholes that are used offer an invitation to look but with an element of risk. The viewers are surprised at the strange feeling of being voyeurs and the initial sense of excitement of being drawn in to look. They find themselves in places where they can only imagine beyond what is offered. Although the viewers know that they can see no more, the spaces force them to stretch their imaginations to fill in the blanks. The lelss that is offered the greater the desire to know what is there.

William Robb
Each piece is a themed "whole" produced from aesthetically ordinary, obsolete, or cast-off parts. The use of the term new or ultra - modern materials - with little "history", familiarity, or depth - is kept to a minimum. Natural objects and traditional materials are often incorporated into the constructions, echoing the used/reverted/decayed aspects of the manufactured ones. In that the materials dictate the form, modification of the component items is kept to a minimum so that the integral qualities (& beauty) of the elements are maintained. Thus the elements of the assemblage are transformed by juxtaposition and contextual presentation rather than alteration. The works possess conceptual themes which are addressed to the viewer's life, experiences and attitudes. The context of the objects also suggest a morality story or theatrical play narrative. Mildly dark humor contained in the pieces causes the audience to question a variety of meanings. The assemblages also reach out to the viewer through the use of light (internal and ambient) and incorporation of movement, inviting an interaction with the piece. Many of the works possess mirrors, lenses, or measuring devices which invite viewer involvement in the art, or suggest simple observation. The visual qualities, warmth of materials, and kinetic aspects of the constructions suggest that the viewer touch or act upon the objects, or simply gaze upon items anew.

AARON T STEPHAN: email
“…The form that confronts me I cannot experience nor describe; I can only actualize it. And yet I see it, radiant in the splendor of the confrontation, far more clearly than all clarity of the experienced world. Not as a thing among the “internal” things, not as a figment of the “imagination”, but as what is present. Tested for its objectivity, the form is not “there” at all; but what can equal its presence? And it is an actual relation: it acts on me as I act on it.” - Martin Buber from I and Thou

sand t: email
Sand T completed her graduate and Museum Studies from Tufts University / the Museum School with a MFA in 1997. She is a multidisciplinary visual artist who has been actively creating and exhibiting her works nationally and internationally for two decades. Mixed media collage, painting, digital documentary photography and art installations are her working mediums. In THE PERSISTENCE OF BECOMING, Sand T presents “THE MIND OF SPACE – UPPER STORY”, one of her mixed media collage series dealing with the continuously evolving conditions of a “Self’ in a multi-cultural setting. Sand T is particularly interested in looking into the substance of transformation (change, creation), transplantation (relocation, adaptation) and translation (language, communication). She attempts to explore the relationships and boundaries between two or more cultures, self and others, conscious and subconscious, dream and reality.

 

The Nave Gallery, P.O. Box 43600, Somerville, MA 02143. © 2004-2009. All rights reserved. info@navegallery.org

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